24th Annual Asian Pacific Film Festival...Jury Awards close out Gala Reception. High Note of best-ever yet fest!

"Ocean Of Pearls" - directed by probably one of the only Sikh directors in America - won the Jury Prize "hands down"; meanwhile, actor Jimmy Tsai scrambled up on stage astonished to snatch up the "Best Newcomer" award, virtually tongued-tied by his good fortune.




Yes, that was the tone of an evening full of surprises and good humor, as the 24th Annual Asian Pacific Festival wound down after record attendances this year.

Indeed, Sunday afternoon there was barely standing room at the DGA, as filmgoers jostled amid leading-edge filmmakers in the brimming-to-capacity lobby.

Today, the anxious throngs were anxious to nab good seats at two of the sold-out offerings - "The Sensei" and "Kissing Cousins" - respectively.

The season for the unprecedented success of the Asian Film Festival this year?

Well - it was obviously due to the fact there was something on the program to appeal to every taste - whether it was an insightful documentary, sizzlin' hilarious short, or captivating drama crafted to transport the audience into a mesmerizing world of make-believe.

The Aratani/Japan Theatre was a lovely setting for the closing night festivities.

A sly breeze wafted across the open square as well-heeled film enthusiasts sipped on exotic cocktails and mingled below an expansive cloudless sky.

And, within shouting distance, the breathtaking lights of a handful of office buildings beyond - scraped the sky - and hinted at the promise to come.

Once everyone was seated indoors for the gala event, Abe Ferrer - one of the directors of the popular annual event - started off by excitedly noting a couple of facts for the record.

"The entries this year were wide-ranging, all excellent in quality."

Consequently, when it was time to hand out awards to honor filmmakers for their artistic visions, it amounted to a tight race in all the prestigious categories.

There was one exception, though, in respect to the Jury Award.

"Ocean of Pearls" - a film that was ten years in the making by first-time director Sarab Neelam - effortlessly nabbed the coveted prize.


The Festival officials commended Neelam for his integrity, amazing story-telling techniques, and for crafting a film that not only appealed on a personal level but on a universal one, as well.

When the red-turbaned director humbly strolled up on the stage, he was quick to thank God for the blessing.

The director of - "Oh, Saigon" - was lauded by the Festival Officials for incorporating spell-binding story-telling elements such as - intrigue, betrayal, and denial - which kept audiences riveted to the edge of their seats.

"Difficult to resist," noted one Judge, who handed over the Grand Jury Prize to Director Doan Hoang.

In a highly-charged emotional moment, one of the Judges noted that the Special Jury Award was going to the film, "Up the Yangtze".

Describing the feature as - "Love Boat meets Apocalypse Now" - a presenter poignantly noted that in this instant case there was a shining example of "life going on beyond the film."

Director Yung Chang was applauded for remaining in touch with the subjects of the project long after he lensed the footage.

Festival officials proudly noted that "Up the Yangtze" also won the Best Film Award this year at the San Francisco Film Festival.

So, there were special kudos all around.

When an Achievement Award went to charming Christine Choy for - "Long Story Short" - she dashed up to the stage, ecstatic.

"I'm overwhelmed", she cried out, as she gasped for breath in what must have been a very surreal, Oscar-style moment for a young filmmaker.

"This film was rejected by every non-Asian Film Festival. Welcome to my life," she nervously giggled.

She thanked the Visual Communications Center and Festival Staff for their support, and for providing a forum for Asian American Filmmakers to "tell their stories".

Likewise, when the Director Richard Wong won for "Best Technical Artistry", he strode up to the stage and expressed disbelief at his good fortune, too.

"This project came from a very dark place. So, I am surprised."

Although he felt his work - "Option 3" - was too off-beat and off-the-wall to be recognized as a stand-out entry in the fest, Judges noted that - on the contrary - more films should "look" and "sound" like this project did.

Best 1st Film prize went to "Always be Boyz", which was five years in the making.

One judge noted the honor was snatched from the jaws of the competition partly due to some kick-ass dancing and original lensing.

The New Director award was nabbed by Director Na Hong Jin for his well-received project, Sweat.

Honorable Mention went to Postcard, amid a lot of applause from the audience, who obviously favorited it.

And, the Golden Reel trophy went to "Tailor-Made" which was directed by Leonard Lee and Marsha Newberry.

In a parting commentary, Abe Ferrer noted the importance of Short Films, which were in abundance this year at the Festival.

"They are the backbone of the Festival. For an Asian director, the short film programs are the future."

It is usually from this ever-growing medium that directors often get noticed - at which point - their careers are often launched into the feature film arena.

In closing, Ferrer asked the audience, sponsors, and film enthusiasts present, to make a good faith effort to get the word out about the celluloid art pieces they took in.

"So the festival won't have been just a week of dead-end films".


A handful of the high-caliber projects I screened, are currently without distribution, and deserve to be ushered onto the wide-screen for mass consumption around the nation.

Yes, 2008 produced a bumper crop of films.

Indeed, for the Asian Film Festival, there's no looking back.

Home Song Stories

(closing Night Film starring Joan Chen)

http://www.julianayrs.com

24th Annual Asian Pacific Film Festival...John Woo premieres new feature, "Blood Brothers" at DGA, Hollywood. Style above substance!

John Woo's new feature film - Blood Brothers - premiered at the DGA under the auspices of the Pacific Asian Film Festival without much fanfare.

In spite of the fact the period piece was actually directed by Alexi Tan, Woo's fingerprints were all over the mixed-genre feature.

But a lot of slow-mo action, nifty blurred effects, and post-production wizardly could not - a hit - make.

Overall, Blood Brothers was pretty lackluster.

At best, it was a mediocre entry at the Asian Pacific Film Festival, where much more riveting celluloid pieces were being offered up by young, first-time out directors.

"Blood Brothers" is the tale of three men in search of their fortunes and a better life on the other side of the tracks in Shanghai (circa 1930's).

In one of the few down-to-earth believable moments in the film, the three likable characters fantasize about trekking off to the big city to find employ as professional servers in fancy upscale restaurants - with the ultimate aim of rustling up quick cash.

Cut to the mean streets of the city and our young heroes - hauling city dwellers 'round town in rickshaws - no less!

What else for an able-bodied man without contacts to do?

As Eric Burton of the "Animals" might say:

"It's a hard world to get a break in."

Before you could utter - "stretches one's credulity" - the ambitious lads are thrust into the nefarious Chinese underworld - and in the blink of an eye - are meting out punishment as enforcers at the behest of their employer who is the kingpin of a prominent gang.

Tan uses broad strokes to paint a canvas that is rich in texture.

And, by way of precise cinematic technique, facilitates exquisite visuals and a clever juxtaposition of images to stir up the filmgoer's passions and seduce them somewhat in the process.

Blood Brothers starts off measured, but later on (as if Woo could ever contain himself) busts loose in a wild sprawl of mayhem, raw violence, and blood and guts.

In spite of the fact Woo has a few potent features under his belt, he has yet to recognize the importance of a well-crafted script, story development, or even the need to flesh out characters.



In essence, that is his failing.

What we have here, is a classic example of style over substance.

Just a lot of eye candy, Blood Brothers leaves a sickly sweet aftertaste.

No cigar, though!

Air thick with melodrama...

24th Annual Asian Pacific Film Festival...Ping Pong Playa, a delightful comedy offered up by Jessica Yu.

PING PONG PLAYA, which kicked off the 24th Annual Asian Pacific Film Festival this year, is a delightful off-beat comedy offered up by the Asian Community.

Essentially, the low-budget farce is about an Asian male still chasing pipe dreams - in particular, a shot at the big leagues in pro basketball - unable to hold down gainful employment or even conjure up any meaningful direction in his life.

Through a quirky set of circumstances, C-dub (his nickname) - played with great aplomb by actor Jimmy Tsai - is forced to teach ping pong at the family business to a handful of lovable, but hapless kids in the neighborhood.

As the little darlings astutely lament to each other - what choice is there otherwise?

Violin, piano, or dreaded choir - go figure!

Yes, early on - the film takes a wild jab at the Asian American culture and its values - in a light-hearted, upbeat way.

Director Jessica Yu (SOUR DEATH BALLS) was in a jovial mood at the premiere.

"Jimmy and I both saw in C-dub the chance for some healthy self-mockery in our generation’s navigation of the ethnic American experience. From the oversensitivity of the politicized to perceived racist slights, the impulse to dismiss ethic stereotyping, while simultaneously mocking those who fit the stereotypes, to the resentment of the non-model minority."

That's quite a mouthful!

On occasion, PING PONG borders on the edge of controversy in this regard.

If a big-budget Hollywood production poked fun at the Asian Community (and other diverse groups represented in the film) the way Yu did - it is wholly possible - there may have been an outcry in the community.

At the Q & A session - when I asked Yu and the cast if the underlying message (in light of all the glaring racial issues raised in the media in recent days on the campaign trail) signaled a need to "lighten up", "have a sense of humor", and "get real" - the response was amusing.

"Actually, we did get accused of white-bashing," Yu chortled.

"Because of some of the comments we made about people in Encino."

But, none of the quips in respect to "race" in PING PONG PLAYA are particularly mean-spirited or offensive, to be sure.

But, I have to take note for the record.

Last year, at the Los Angeles Film Festival, there was a panel discussion about diversity in Hollywood which focused on how Asians, Blacks, and others were portrayed by the industry.

Some of the stereotypes the panel objected to there, run rampant here.

And, a handful of politically-correct individuals, might put forth the proposition that films like "Ping Pong" may perpetuate those myths.

I guess that old adage is true.

It's okay for any ethnic group - or person of a certain religious or sexual persuasion - to make fun of members of their own.

Just don't anyone else dare!

For the most part, there's a lot of side-splitting shtick and odd-ball humor, with a big satirical thrust on the annual Ping Pong tournament that C-dub must win to ensure the family honor is upheld in the community - and, of course - that sign-ups for lessons on the hot little table keep filtering in.

Enter the competition.

A couple of wacky ping pong enthusiasts (who take the rules of the game "to the max") sashay in and throw a curve ball into the mix.

Peter Paige and Scott Lowell (Queer as Folk) are wildly amusing as a couple of players out to win the tourney at any cost.

Paige goes all out here, explores new ground as a comic actor, and succeeds admirably in a break-out role.

No doubt, both the gay community - and the straight one - will get a kick out of his characterization of a man who is noticeably "gay" to everyone but himself.

In the classic tradition of a closeted man, he puffs up his manhood, and all-the-while crows unconvincingly about chicks.

Wink! Wink!

To divert attention elsewhere, 'ya think?

There's a lot of visual humor in PING PONG, too; shots of tight shorts on wiggling butts and kids with odd-ball expressions on their silly mugs which bring a smile to the face.

All the broad character reactions are right on the money, by the way, and keep the hilarity running throughout at a fast pace.

A thumbs up!

Ping Pong Playa...delightful comedy. Race stereotypes may stir up controversy!

PING PONG PLAYA, which kicked off the 24th Annual Asian Pacific Film Festival on Thursday, is a delightful off-beat comedy offered up by director Jessica Yu.

Essentially, the low-budget farce is about an Asian male still chasing pipe dreams - in particular, a shot at the big leagues in pro basketball - unable to hold down gainful employment or even conjure up any meaningful direction in his life.

Through a quirky set of circumstances, C-dub (his nickname) - played with great aplomb by actor Jimmy Tsai - is forced to teach ping pong at the family business to a handful of lovable, but hapless kids in the neighborhood.

As the little darlings astutely lament to each other, what choice is there otherwise? Violin, piano, dreaded choir - go figure!

Yes, early on - the film takes a wild jab at the Asian American culture and its values - in a light-hearted, upbeat way.

Director, Jessica Yu (SOUR DEATH BALLS) joked,

"Jimmy and I both saw in C-dub the chance for some healthy self-mockery in our generations navigation of the ethnic American experience. From the oversensitivity of the politicized to perceived racist slights, the impulse to dismiss ethic stereotyping, while simultaneously mocking those who fit the stereotypes, to the resentment of the non-model minority."

That's quite a mouthful!

On occasion, PING PONG borders on the edge of controversy in this regard.

If a big-budget Hollywood production poked fun at the Asian Community - and other diverse groups represented in the film the way Lu has - it is wholly possible there may have been an outcry in the community.

At the Q & A session - when I asked Yu and the cast if the underlying message (in light of all the racial issues discussed in the media in recent days) signaled a need to "lighten up", "have a sense of humor", and "get real" - the response was amusing.

"Actually, we did get accused of white-bashing," Yu chortled. "Because of some of the comments we made about people in Encino."

But, none of the quips in respect to "race" in PING PONG PLAYA are particularly mean-spirited or offensive, to be sure.

But, I have to take note for the record. Last year, at the Los Angeles Film Festival, there was a panel discussion about diversity in Hollywood which focused on how Asians, Blacks, and others were portrayed by the industry.

Some of the stereotypes the panel objected to there - run rampant here.

And, a handful of politically-correct individuals might put forth the proposition that films like "Ping Pong" may perpetuate those myths.

I guess that old adage is true...

It's okay for any ethnic group - or person of a certain religious or sexual persuasion - to make fun of members of their own, but don't anyone else dare!

For the most part, there's a lot of side-splitting shtick and odd-ball humor, with a big satirical thrust on the annual Ping Pong tournament that C-dub must win to ensure the family honor is upheld in the community - and, of course - that sign-ups for lessons on the hot little table keep filtering in.

Enter the competition.

A couple of wacky ping pong enthusiasts (who take the rules of the game "to the max") sashay in and throw a curve ball into the mix.

Peter Paige and Scott Lowell (Queer as Folk) are wildly amusing as a couple of players out to win the tournie, at any cost.

Paige goes all out here, explores new ground as a comic actor, and succeeds admirably in a break-out role.

No doubt, both the gay community - and the straight one - will get a kick out of his characterization of a man who is obviously "gay" to everyone but himself. In the classic tradition of a closeted man, he puffs up his manhood, and all-the-while crows unconvincingly about chicks. Wink! Wink!

To divert attention elsewhere, ya think?

There's a lot of visual humor in PING PONG, too; shots of tight shorts on wiggling butts, kids with odd-ball expressions on their silly mugs which bring a smile to the face, and broad character reactions - right on the money, by the way - that add a lot of hilarity throughout to keep the laughter rolling.

A thumbs up!