Browse Titles - 8 results
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Agrarian Utopia
directed by Uruphong Raksasad, fl. 2001-2009; performed by Sompong Jumma, fl. 2009, Sai Jumma, fl. 2009 and Prayad Jumma, fl. 2009 (Thailand: Extra Virgin Co), 2 hours 1 mins
Two families are employed by a landowner to work on his rice fields. One of them, used to own their own land, but was evicted for being unable to keep up with his hefty loan payments. In the absence of machinery, they plant rice using traditional farming methods and an untrained buffalo. However, the low market...
Sample
directed by Uruphong Raksasad, fl. 2001-2009; performed by Sompong Jumma, fl. 2009, Sai Jumma, fl. 2009 and Prayad Jumma, fl. 2009 (Thailand: Extra Virgin Co), 2 hours 1 mins
Description
Two families are employed by a landowner to work on his rice fields. One of them, used to own their own land, but was evicted for being unable to keep up with his hefty loan payments. In the absence of machinery, they plant rice using traditional farming methods and an untrained buffalo. However, the low market prices for rice mean that they have to supplement their income with picking wild mushrooms. They also eat wild frogs, snakes and hone...
Two families are employed by a landowner to work on his rice fields. One of them, used to own their own land, but was evicted for being unable to keep up with his hefty loan payments. In the absence of machinery, they plant rice using traditional farming methods and an untrained buffalo. However, the low market prices for rice mean that they have to supplement their income with picking wild mushrooms. They also eat wild frogs, snakes and honeycomb when their income proves to be too meagre to feed the family. In contrast, a neighboring farmer, a retired teacher, farms his land organically and hopes to keep the land fertile with the rice stalks, so that he will always be able to grow food for himself. Thai director Uruphong Raksasad had grown up in the same village where the film is beautifully shot, and had chosen to use local farmers as his actors. Awards/Festivals: NETPAC Special Mention Award, International Film Festival Rotterdam; Special Mention Award, Barcelona Asian Film Festival; NETPAC Award, Brisbane International Film Festival; Golden Hanoman Award, Jogja-NETPAC Asian Film Festival; NETPAC Award, Jogja-NETPAC Asian Film Festival; Best Narrative Film, Toronto Reel Asian International Film Festival; !f Inspired Award - Most Inspired Director, !f International Independent Film Festival, Istanbul; Special Jury Award, Millenium International Documentary Film Festival; Green Chilies Award (Best Film), Asian Hot Shot Berlin Festival; Hong Kong International Film Festival; Singapore International Film Festival; Jeonju International Film Festival; Libertas Film Festival; Filmfest Munchen; Vancouver International Film Festival; Yamagata International Documentary Film Festival; Flanders International Film Festival Ghent; Mumbai Film Festival; Vienna International Film Festival; Asiaticafilmmediale, Rome; Mar del Plata International Film Festival; Taipei Golden Horse International Film Festival; International Film Festival Bratislava; International Film Festival of Kerala; Pune International Film Festival; Fajr International Film Festival; San Francisco Asian American Film Festival.
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Field of Study
Asian Studies
Content Type
Performance
Performer / Ensemble
Sompong Jumma, fl. 2009, Sai Jumma, fl. 2009, Prayad Jumma, fl. 2009
Contributor
Uruphong Raksasad, fl. 2001-2009
Author / Creator
Uruphong Raksasad, fl. 2001-2009, Sompong Jumma, fl. 2009, Sai Jumma, fl. 2009, Prayad Jumma, fl. 2009
Date Published / Released
2009
Publisher
Extra Virgin Co
Topic / Theme
Thai, Agrarian occupations, Domestic life
Copyright Message
Copyright © 2009 Used by permission of Extra Virgin Co.
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And The Moon Dances
directed by Garin Nugroho, 1961-; performed by Bambang S. Jayantoro, fl. 1995, Wiwiek Handawiyah, fl. 1995 and Pramana Padmodarmaya, fl. 1995-2002 (Indonesia: Set Film Workshop), 2 hours 3 mins
Literally translated, the title means 'The Moon Pierced by Wild Grass,' and the film tells the story of the relationship between an aged traditional song teacher named Waluyo, his folk music disciple Ilalang (who has to cope with memories of his abusive father) and the lovely dancer Bulan, who Ilalang has loved fo...
Sample
directed by Garin Nugroho, 1961-; performed by Bambang S. Jayantoro, fl. 1995, Wiwiek Handawiyah, fl. 1995 and Pramana Padmodarmaya, fl. 1995-2002 (Indonesia: Set Film Workshop), 2 hours 3 mins
Description
Literally translated, the title means 'The Moon Pierced by Wild Grass,' and the film tells the story of the relationship between an aged traditional song teacher named Waluyo, his folk music disciple Ilalang (who has to cope with memories of his abusive father) and the lovely dancer Bulan, who Ilalang has loved for a long time. The feature is set in Solo, where the vestiges of feudal Javanese culture can still be found, and gamelan music is heard...
Literally translated, the title means 'The Moon Pierced by Wild Grass,' and the film tells the story of the relationship between an aged traditional song teacher named Waluyo, his folk music disciple Ilalang (who has to cope with memories of his abusive father) and the lovely dancer Bulan, who Ilalang has loved for a long time. The feature is set in Solo, where the vestiges of feudal Javanese culture can still be found, and gamelan music is heard throughout. It is an intensely emotional meditation upon the relationship between the generations and the role of music in the search for recovery from a traumatic past and for identity in an uncertain present. Director Garin Nugroho, who has described himself as 'a Javanese living amidst multiculturalism,' and who celebrates Indonesian cultural diversity in such films as A Poet, here explores Javanese culture. He sees this film as 'encompassing at the same time refinement and cruelty, softness and tyranny, and a beauty based on feudalism.' Awards/Festivals: Best Director Award, Nantes International Film Festival. Special Jury Prize at the Nantes Three Continent Film Festival.
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Field of Study
Film
Content Type
Performance
Performer / Ensemble
Bambang S. Jayantoro, fl. 1995, Wiwiek Handawiyah, fl. 1995, Pramana Padmodarmaya, fl. 1995-2002
Contributor
Garin Nugroho, 1961-
Author / Creator
Garin Nugroho, 1961-, Bambang S. Jayantoro, fl. 1995, Wiwiek Handawiyah, fl. 1995, Pramana Padmodarmaya, fl. 1995-2002
Date Published / Released
1995
Publisher
Set Film Workshop
Topic / Theme
Javanese, Musicians, Relationships
Copyright Message
Copyright © 1995 Used by permission of Set Film Workshop.
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The Arsonist
directed by U-Wei Haji Saari, 1954-; performed by Jamaluddin Kadir, fl. 1995-2009, Anwar Idris, fl. 2008-2004 and Ngasrizal Ngasri, fl. 1993-2010 (Malaysia: Privately Published), 1 hour 7 mins
U-Wei Bin Haji Saari based "The Arsonist" (1995) on William Faulkner's short story "Barn Burning," transposing it from the Deep South to Malaysia. The filmmaker stays true to its core, but depicts the position of a Javanese man who has married a Malaysian woman, and is continually in a state of rebellion. His fami...
Sample
directed by U-Wei Haji Saari, 1954-; performed by Jamaluddin Kadir, fl. 1995-2009, Anwar Idris, fl. 2008-2004 and Ngasrizal Ngasri, fl. 1993-2010 (Malaysia: Privately Published), 1 hour 7 mins
Description
U-Wei Bin Haji Saari based "The Arsonist" (1995) on William Faulkner's short story "Barn Burning," transposing it from the Deep South to Malaysia. The filmmaker stays true to its core, but depicts the position of a Javanese man who has married a Malaysian woman, and is continually in a state of rebellion. His family is isolated from the community, and their life is continually disrupted. They are often reduced to camping out in the open with the...
U-Wei Bin Haji Saari based "The Arsonist" (1995) on William Faulkner's short story "Barn Burning," transposing it from the Deep South to Malaysia. The filmmaker stays true to its core, but depicts the position of a Javanese man who has married a Malaysian woman, and is continually in a state of rebellion. His family is isolated from the community, and their life is continually disrupted. They are often reduced to camping out in the open with their goats. His middle son admires his courage, but asks himself if his honor demands him to stop his father from ruining himself and their family. The movie premiered at the Singapore International Film Festival, and went on to be the most honored Malaysian film in history, selected in Cannes, and winning the Grand Prize (Best International Film) at the Brussels Film Festival. Other Festivals: Nominated Silver Lion Best Short Film Venice Film Festival 2004; Los Angeles International Short Film Festival 2004.
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Field of Study
Asian Studies
Content Type
Performance
Performer / Ensemble
Jamaluddin Kadir, fl. 1995-2009, Anwar Idris, fl. 2008-2004, Ngasrizal Ngasri, fl. 1993-2010
Contributor
U-Wei Haji Saari, 1954-
Author / Creator
U-Wei Haji Saari, 1954-, Jamaluddin Kadir, fl. 1995-2009, Anwar Idris, fl. 2008-2004, Ngasrizal Ngasri, fl. 1993-2010
Date Published / Released
1995
Publisher
Privately Published
Topic / Theme
Malay, Agriculture, Relationships, Marriage, Rural population
Copyright Message
Copyright © 1995 Used by permission of Uwei Haji Saari.
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The Champion
directed by U-Wei Haji Saari, 1954-; performed by Sabri, Yunus, fl. 1993-2012, Normah Damanhuri, fl. 1986-2011 and Khalid Salleh, fl. 1992-2011 (Malaysia: Privately Published), 1 hour 32 mins
Based on the novel, Juara, by S. Othman Kelantan, Mamat, a Malaysian, works in Southern Thailand as a trainer in bullfighting (a jogho). In this small village, the winnings from the gambling during bull-fights, maintains the village economy. But when a village leader is killed during a bull-fight, Mamat has to uph...
Sample
directed by U-Wei Haji Saari, 1954-; performed by Sabri, Yunus, fl. 1993-2012, Normah Damanhuri, fl. 1986-2011 and Khalid Salleh, fl. 1992-2011 (Malaysia: Privately Published), 1 hour 32 mins
Description
Based on the novel, Juara, by S. Othman Kelantan, Mamat, a Malaysian, works in Southern Thailand as a trainer in bullfighting (a jogho). In this small village, the winnings from the gambling during bull-fights, maintains the village economy. But when a village leader is killed during a bull-fight, Mamat has to uphold the village's honour by taking revenge. But a cycle of violence soon follows. U-Wei bin Haji Saari is the key Malaysian filmmaker p...
Based on the novel, Juara, by S. Othman Kelantan, Mamat, a Malaysian, works in Southern Thailand as a trainer in bullfighting (a jogho). In this small village, the winnings from the gambling during bull-fights, maintains the village economy. But when a village leader is killed during a bull-fight, Mamat has to uphold the village's honour by taking revenge. But a cycle of violence soon follows. U-Wei bin Haji Saari is the key Malaysian filmmaker preceding the rise of the Malaysian New Wave in 2000. His seminal work was his feature debut, Woman, Wife and Whore (1993). In 1995, his third feature, The Arsonist (1994), became the first Malaysian film to be selected in Cannes. The Champion (Jogho) is his fourth work and his latest feature, Hanyut (2011), based on Joseph Conrad's Almayer's Folly will be released in 2011.
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Date Written / Recorded
2010-11-16
Field of Study
Asian Studies
Content Type
Performance
Performer / Ensemble
Sabri, Yunus, fl. 1993-2012, Normah Damanhuri, fl. 1986-2011, Khalid Salleh, fl. 1992-2011
Contributor
U-Wei Haji Saari, 1954-
Author / Creator
U-Wei Haji Saari, 1954-, Sabri, Yunus, fl. 1993-2012, Normah Damanhuri, fl. 1986-2011, Khalid Salleh, fl. 1992-2011
Date Published / Released
1997
Publisher
Privately Published
Topic / Theme
Malay, Agrarian economy, Crime, Gambling
Copyright Message
Copyright © 1997 Used by permission of Uwei Haji Saari.
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Little Brown Comedies
directed by Khavn De La Cruz, 1973-; performed by Lav Diaz, 1958- and Banaue Miclat, 1979- (Philippines: Privately Published), 1 hour 13 mins
A collection of short films by the enfant terrible of Philippine cinema, including 'Amen, a brown comedy' -- a satire on the traditional Filipino custom of having younger people raise the hands of their elders, to their own foreheads, as a greeting and also as a superficial mark of respect; 'Ultimo: Different wa...
Sample
directed by Khavn De La Cruz, 1973-; performed by Lav Diaz, 1958- and Banaue Miclat, 1979- (Philippines: Privately Published), 1 hour 13 mins
Description
A collection of short films by the enfant terrible of Philippine cinema, including 'Amen, a brown comedy' -- a satire on the traditional Filipino custom of having younger people raise the hands of their elders, to their own foreheads, as a greeting and also as a superficial mark of respect; 'Ultimo: Different ways of killing a national hero' -- an adaptation of Jose Rizal's poem, 'Mi ultimo adios' (My Last Goodbye). Jose Rizal was a Philippine...
A collection of short films by the enfant terrible of Philippine cinema, including 'Amen, a brown comedy' -- a satire on the traditional Filipino custom of having younger people raise the hands of their elders, to their own foreheads, as a greeting and also as a superficial mark of respect; 'Ultimo: Different ways of killing a national hero' -- an adaptation of Jose Rizal's poem, 'Mi ultimo adios' (My Last Goodbye). Jose Rizal was a Philippine national hero, who had been sentenced to death by firing squad, by the Spanish government in 1896; I'm Not Batman; John Cage; Memory of Dawn; Headless (Pugot); This Is Not a Found Footage Film; By The Suez Canal. Awards/Festivals: .Mov International Digital Film Festival 1998
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Field of Study
Film
Content Type
Performance
Performer / Ensemble
Lav Diaz, 1958-, Banaue Miclat, 1979-
Contributor
Khavn De La Cruz, 1973-
Author / Creator
Khavn De La Cruz, 1973-, Lav Diaz, 1958-, Banaue Miclat, 1979-
Date Published / Released
2009
Publisher
Privately Published
Topic / Theme
Filipino, Sociology, Film and films, Filipinos
Copyright Message
Copyright © 2009 Used by permission of Khavn De La Cruz.
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Thương nhớ đồng quê
directed by Dang Nhat Minh, 1938- (Vietnam: Privately Published), 1 hour 56 mins
Set in a rice-growing village in Vietnam, this is a tale of crossroads where stories flow together like small rivers of sorrow. 17-year-old Nham has left school to care for his widowed mother, his little sister Minh, and his sister-in-law Ngu. Ngu, whose husband left to work in a coal mine five years ago and has...
Sample
directed by Dang Nhat Minh, 1938- (Vietnam: Privately Published), 1 hour 56 mins
Description
Set in a rice-growing village in Vietnam, this is a tale of crossroads where stories flow together like small rivers of sorrow. 17-year-old Nham has left school to care for his widowed mother, his little sister Minh, and his sister-in-law Ngu. Ngu, whose husband left to work in a coal mine five years ago and has only come home twice for a few days, lives in daily sadness and with a deep longing for him and a complete life. Nham and his family...
Set in a rice-growing village in Vietnam, this is a tale of crossroads where stories flow together like small rivers of sorrow. 17-year-old Nham has left school to care for his widowed mother, his little sister Minh, and his sister-in-law Ngu. Ngu, whose husband left to work in a coal mine five years ago and has only come home twice for a few days, lives in daily sadness and with a deep longing for him and a complete life. Nham and his family are visited by Quyen, who has come from America to revisit the village where she was raised by her aunt, Nham's relative. Quyen shares her nostalgia for her childhood with Nham as she remembers the places and the life she left before leaving her bad marriage. As Nham befriends her, his sexuality is awakened by her attractive personality and vivacious good looks. Ngu sees this attention being paid to Quyen by Nham and harbors a quiet jealousy. As Nham opens to his sexual feelings, his embarrassment drives him from Quyen but his sexuality is further awakened by innocent comfort given to Ngu. Nostalgia for the Countryside sweeps us through strong emotions as we experience the characters' heartbreaks and sorrows.
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Date Written / Recorded
2009-10-19
Field of Study
Asian Studies
Content Type
Performance
Contributor
Dang Nhat Minh, 1938-
Author / Creator
Dang Nhat Minh, 1938-
Date Published / Released
1995
Publisher
Privately Published
Topic / Theme
Vietnamese, Emotions and feelings, Romantic relationships, Nostalgia, Family, Sexuality
Copyright Message
Copyright © 1995 Used by permission of Dang Nhat Minh.
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ÐỜI CÁT = Sandy Lives
directed by Nguyen Thanh Van, fl. 1995-2008; performed by Anh Hong, 1977-, Duong Don, 1957-0011 and Ninh Cong, fl. 2001 (Vietnam: Privately Published), 1 hour 28 mins
For twenty years, Camh has lived in North Vietnam, unable to return to his home in the south, a small fishing village where his wife waits for him. She has been a guerrilla fighter for the triumphant communist forces, and has made a living selling food in the market. She is happy to reunite with her husband unti...
Sample
directed by Nguyen Thanh Van, fl. 1995-2008; performed by Anh Hong, 1977-, Duong Don, 1957-0011 and Ninh Cong, fl. 2001 (Vietnam: Privately Published), 1 hour 28 mins
Description
For twenty years, Camh has lived in North Vietnam, unable to return to his home in the south, a small fishing village where his wife waits for him. She has been a guerrilla fighter for the triumphant communist forces, and has made a living selling food in the market. She is happy to reunite with her husband until she learns that he has married a young woman in the north and has a child by her. The love triangle becomes more complicated: Huy, a...
For twenty years, Camh has lived in North Vietnam, unable to return to his home in the south, a small fishing village where his wife waits for him. She has been a guerrilla fighter for the triumphant communist forces, and has made a living selling food in the market. She is happy to reunite with her husband until she learns that he has married a young woman in the north and has a child by her. The love triangle becomes more complicated: Huy, a man who has lost a leg is in love with Troa, who does not return his affection, and there is Hoa, a young woman who has lost both legs and who is in love with him. All of the characters' emotional injuries are as deep as those of Huy and Hoa, but they behave with great kindness towards one another. The movie was made for
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Date Written / Recorded
2010-04-14
Field of Study
Asian Studies
Content Type
Performance
Performer / Ensemble
Anh Hong, 1977-, Duong Don, 1957-0011, Ninh Cong, fl. 2001
Contributor
Nguyen Thanh Van, fl. 1995-2008
Author / Creator
Nguyen Thanh Van, fl. 1995-2008, Anh Hong, 1977-, Duong Don, 1957-0011, Ninh Cong, fl. 2001
Date Published / Released
1999
Publisher
Privately Published
Topic / Theme
Vietnamese, Relationships, War
Copyright Message
Copyright © 1999 Used by permission of Nguyen Thanh Van.
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เรื่องเล่าจากเมืองเหนือ = Stories From The North
directed by Uruphong Raksasad, fl. 2001-2009; performed by Tan Kongwan, fl. 2006, Sombut Chaitha, fl. 2006 and Kon Chaitha, fl. 2006 (Thailand: Extra Virgin Co), 1 hour 28 mins
8 moving vignettes reveal vivid contrasts of 21st-century life among farmers/herders in Thailand's northern mountains. Profound continuities of age-old traditions are countered by scattered but crucial technological benefits -- telephones, tin roofs, the car leading a Buddhist procession through rice fields, the r...
Sample
directed by Uruphong Raksasad, fl. 2001-2009; performed by Tan Kongwan, fl. 2006, Sombut Chaitha, fl. 2006 and Kon Chaitha, fl. 2006 (Thailand: Extra Virgin Co), 1 hour 28 mins
Description
8 moving vignettes reveal vivid contrasts of 21st-century life among farmers/herders in Thailand's northern mountains. Profound continuities of age-old traditions are countered by scattered but crucial technological benefits -- telephones, tin roofs, the car leading a Buddhist procession through rice fields, the rifle an old man uses to scare intruders. Cattle-rustlers on motorcycles interrupt agricultural methods thousands of years old, but the...
8 moving vignettes reveal vivid contrasts of 21st-century life among farmers/herders in Thailand's northern mountains. Profound continuities of age-old traditions are countered by scattered but crucial technological benefits -- telephones, tin roofs, the car leading a Buddhist procession through rice fields, the rifle an old man uses to scare intruders. Cattle-rustlers on motorcycles interrupt agricultural methods thousands of years old, but the loneliness of the elderly is punctuated by phone calls with city relatives. They share dependence upon nature, each other (and pets), but their temperaments vary: from the lone farmer pondering the sky with his dog, to a merry group of bicycling musicians visiting a temple. The vignettes, accompanied by the sounds of rain, threshing, and local musicians, are intercut with visually poetic takes focusing on timeless satisfactions: clouds, mountains, waving grain, the full moon under which children tell ghost stories inspired by the mysteries of birth and unexpected death. Awards/Festivals: Vienna International Film Festival 2006; Munich Film Festival 2007.
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Date Written / Recorded
2009-10-29
Field of Study
Asian Studies
Content Type
Performance
Performer / Ensemble
Tan Kongwan, fl. 2006, Sombut Chaitha, fl. 2006, Kon Chaitha, fl. 2006
Contributor
Uruphong Raksasad, fl. 2001-2009
Author / Creator
Uruphong Raksasad, fl. 2001-2009, Tan Kongwan, fl. 2006, Sombut Chaitha, fl. 2006, Kon Chaitha, fl. 2006
Date Published / Released
2006
Publisher
Extra Virgin Co
Topic / Theme
Thai, Agriculture, Geography, Farming, Cattle
Copyright Message
Copyright © 2006 Used by permission of Extra Virgin Co.
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