Festival roundup: Headshot in Dallas, Montreal and New Delhi

Pen-ek Ratanruang's upside-down hitman thriller Headshot continues to make its way around the the festival circuit, with appearances along with many other Thai films at three festivals.

It's at 11th Asian Film Festival of Dallas, which started on Thursday and runs until July 19. In addition to Headshot, AFFD also has Davy Chou's documentary on the lost golden age of Cambodian cinema, Golden Slumbers.

Montreal's Fantasia International Film Festival, running July 19 to August 9, also has Headshot. It's part of a fun line-up that also includes rapper Joey Boy's hip-hop-horror-zombie-comedy Dead Bite and Prachya Pinkaew's Korean-Thai martial-arts hybrid The Kick.

Finally, back from a two-year hiatus, is the 12th Osian's Cinefan Film Festival, running from July 27 to August 5 in New Delhi. Check Film Business Asia for the line-up. Cinefan has Headshot, making its Indian premiere in the Asian and Arab Competition alongside Apichatpong Weerasethakul's Mekong Hotel.

Another Thai entry in the Osian's fest is Wichanon Somumjarn's In April the Following Year, There Was a Fire. It's in the First Features in Competition. In April recently premiered in Bangkok as part of the MovieMov Italian Film Festival. It screened on a weeknight when I'm always busy working a job-type job and I'm hoping the producers at Electric Eel will be able to wrangle a run for it in Bangkok cinemas, otherwise I'll probably never see it.

Aditya's White Buffalo grazes on Hubert Bals funds

Wonderful Town and Hi-So director Aditya Assarat's third feature project, White Buffalo, moves into another phase of funding, having been chosen for the spring round of funding from the Hubert Bals fund of the International Film Festival Rotterdam.

It's been earmarked for script and project development.

White Buffalo has previously been shopped around at such project markets as Ties That Bind in Udine and this year's edition of Cinemart in Rotterdam.

"It'll be about you," he told me awhile back. "It's about a foreigner living in Thailand."

Security cameras reveal the horrors of Yuthlert's and Tiwa's Heaven and Hell

For his past several films, genre-hopping director Yuthlert Sippapak has been collaborating with talented cinematographer Tiwa Moeithaisong.

Now the two team up to direct  Heaven and Hell (Wong Jorn Pid, วงจรปิด), an omnibus of shorts that join the trend of fake "found footage" movies.

The project sees Yuthlert, the prolific director of the Buppa Rahtree ghost-thriller franchise, return to the horror genre. Hopefully, he and Tiwa, who himself directed the controversial-but-stylish cannibalism thriller Meat Grinder, will bring something fresh to the now tiresome "found footage" genre with the scary tales that purport to be captured from security cameras in three places: a broken-down elevator (Hell No. 8), a convenience store (the cheekily named Heaven 11) and a creepy old house (Ghost Legacy).

In Thai cinemas today, it's released by Phranakorn, and there's already a push for international sales with the release of an English-subtitled trailer, embedded below.

Meanwhile, the always-busy Yuthlert has the terrorism tale Fatherland, in the works, starring Ananda Everingham, and I'm wondering if he's finished his Meu Puen Three Pak trilogy of hitman films that team veteran comedians with pretty actresses. After the pretty good Saturday Killer and the even better Friday Killer, left hanging is Sunday Killer.

Apichatpong-a-rama: A giant ghost in a German park

Apichatpong Weerasethakul, collaborating with his partner  Chaisiri Jiwarangsan, moves into the realm of sculpture with The Importance of Telepathy, a 5-meter-tall statue that's being exhibited in Karlsaue Park in Kassel, Germany, until September 16, as part of dOCUMENTA (13),  2012

A video posted by Thorsten on Vimeo is embedded above.

And there's another one on
YouTube, embedded below, though I think it would be better without the musicial accompaniment.

According to the YouTube posting, the sculpture is in memory of "the victims of political violence in Thailand".

More about the ghost statue can be found in a Bangkok Post article, in which Apichatpong is quoted as saying:

"Film is transient, an illusion. The belief of phantoms I have is very concrete, so I solidified it. It may be seen as a haunting object."

Meanwhile, the international competition jury that Apichatpong is heading at Switzerland's Locarno Film Festival is growing. South Korean director Im Sang-soo the international competition jury and Malaysia's Ho Yu Hang as part of the Filmmakers of the Present jury. The jury will also include Pulp Fiction producer Roger Avary, and film critic Dennis Lim is part of panel picking the best film from a new director. the Locarno fest runs August 1 to 11.

The Good, the Bad and the five indie Thai films in Bangkok's Italian Film Festival

Now in its second year, the MovieMov Italian Film Festival in Bangkok will again feature a selection of Thai films.

This year it's five indie movies, most of which have been critically acclaimed hits on the world's festival circuit.

They include 2009's Mundane History (Jao Nok Krajok, เจ้านกกระจอก) by Anocha Suwichakornpong; Tanwarin Sukkhapisit’s transsexual romance It Gets Better (ไม่ได้ขอให้มารั, Mai Dai Kor Hai Ma Rak); Tongpong Chantarangkul’s I Carried You Home (Padang Besar, ปาดังเบซา); and Rirkrit Tiravanija’s lengthy documentary Lung Neaw Visits His Neighbours (from last year's Venice festival).

And, from this year's Rotterdam fest there will be the Bangkok premiere of In April the Following Year There Was a Fire (Sin Mesa Fon Tok Ma Proy Proy, สิ้นเมษาฝนตกมาปรอยปรอย, a.k.a. Like Raining at the End of April), the debut feature by award-winning Four Boys, White Whisky and Grilled Mouse director Wichanon Somumjarn. It was recently featured in the new cinema competition at the 48th Pesaro Film Festival in Italy.

Opening Wednesday, the highlight of this year's Italian film fest is the retrospective of all of Sergio Leone's features, from The Collossus of Rhodes, to his spaghetti westerns, including The Man with No Name trilogy with Clint Eastwood, as well as Duck, You Sucker (a.k.a. A Fistful of Dynamite), Once Upon a Time in the West and the gangster epic Once Upon a Time in America. They'll apparently screen with an Italian soundtrack with English and Thai subtitles.

There's also newer Italian films, including the closing film, Dracula 3D, the latest film by horror master Dario Argento.

Held at SF World Cinema at CentralWorld, admission is free, with tickets being handed out 30 minutes beforehand. As with the other free film fests in Bangkok, movie-goers should anticipate standing in line an hour or two before show time to get these precious freebies. And with the rare chance to see the classic Leone films on the big screen, I think lot of thrifty punters will be turning out, so plan accordingly if you want to get a good seat.

Review: Antapal

• Directed by Kongkiat Komsiri
• Starring Krissada Sukosol Clapp, Somchai Khemglad, Kritsada Suphapphaphrom, Sakrin Suthammasamai
• Released in Thai cinemas on June 14, 2012; rated 18+
• Wise Kwai's rating: 5/5

With Martin Scorsese now off making family-friendly 3D movies, a new director has arisen to take over Scorsese's old territory in the making of gritty, violent and stylish gangster movies: Kongkiat Komsiri.

The writer-director's latest effort Antapal (อันธพาล) echoes such Scorsese movies as Mean Streets, Goodfellas and Gangs of New York as well as old-time Thai action films. It's also a continuation of the thread of crime movies Kongkiat started with the underground boxing drama Muay Thai Chaiya and the serial-killer thriller Slice.

Antapal is a story previously told in 1997's Dang Bireley's and Young Gangsters  (2499 Antapan Krong Muang), the debut feature by Nonzee Nimibutr (scripted by Slice scribe Wisit Sasanatieng) that's hailed as the first "Thai New Wave" film that helped elevate the Thai film industry out of the doldrums and bring Thai cinema to the world stage.

Kongkiat has adamantly said that it isn't a remake or a sequel and he gets angry at anyone who suggests otherwise. But there's nothing wrong with making a remake or sequel as long as it's a good film, and Antapal is great. The character names are the same, but the story is greatly expanded, with more of an epic feel. It's also a fact-based tale, and there are documentary-like segments in which old-timers from the era are interviewed and talk about the young gangsters of 1950s and '60s Thailand.

While Nonzee's version focused on Dang Bireley, Antapal, which translates literally as "hoodlum", casts Dang's friend Jod as the main protagonist.

Jod is portrayed by Krissada Sukosol Clapp, the pop singer and hotel-chain heir who previously gave a critically hailed performance in 13: Game of Death. In Antapal he exudes charisma as the humbly quiet and brooding gangster who explodes with rage when such emotion is needed.

Early on, he duels with an older gangster, played by perennial heavy Pongpat Wachirabunjong, in a knife fight in which the combatants are tied to each others' arms with a rope. They then use their one free hand to slash at each other with big blades. Later, at a big dinner, he uses a crab claw to stab a guy in the jugular. Another time, he uses a homemade firearm to shoot a rival, with the old-timers explaining that it was a game-changing act, marking the first time guns were used in the Thai gang world. Before then, gangsters had only carried knives. And even later, Jod comes out with a machine gun blazing – a solo Butch and Sundance making his last stand.

Somchai Kemglad portrays Dang, the hot-headed leader of the gangsters, but he's quickly and unceremoniously sidelined and then the movie mainly follows Jod's story.

Watching from the sidelines are a couple of young guys, PIak and Tong (Kritsada Suphapphaphrom and Sakrin Suthammasamai) who idolize Dang and Jod and aspire to be gangsters just like them. The pair live in the back room of a movie theater and spy on the older gangsters while they watch movies starring James Dean and Elvis Presley. The youngsters also slick back their hair and dress like the screen icons.

A military coup brings new order to the streets. A crackdown on the mafia sends most of the gangsters to prison or into exile as the junta takes over all their rackets, including protection of such criminal enterprises as gambling dens, prostitution and smuggling. In the young gangsters' neighborhood, it's a uniformed officer named Neung (Wasu Saengsingkaeo) who rules like a dictator and is a frequent thorn in the side of Jod's gang.

Jod emerges from prison a changed man, with a determination to set things right. But, knowing no other life, he returns to his old gangster ways with his old crew, which the new kids have joined.

Amidst beefing with rival gangs and paranoia over a possible mole within their ranks, Jod's new gang quickly unravels. One suspected informant is buried in a sugar-cane field, bringing to mind the cornfield burial scene in Scorsese's Casino.

And the lifelong friendship between blood brothers Piak and Tong is torn asunder when Piak, heedless of his pal's warnings, falls for a girl (doe-eyed Nantana Chaowarat) who is the mistress of their gang's boss.

Aside from the strong performance by Noi Sukosol, Kongkiat coaxes great performances from a couple of fellow directors who've been cast in supporting roles. Director Pornchai "Mr. Pink" Hongrattanaporn is reunited with his Bangkok Loco star, playing opposite Noi as he portrays the stylishly dressed boss of Jod's crew. Boonsong Nakphoo, who during the same week Antapal opened had his latest low-budget rural drama Four Stations in limited release at Bangkok's Lido cinemas, portrays Lod, the "uncle" figure of the gangster crew who usually does the driving. It's a meaty role for Boonsong, and his character has a crucial turning point late in the movie that affects everyone.

Also worth noting is a cameo by Sonthaya Chitmanee from Muay Thai Chaiya, making a departure from his usual role of best friend to play a rival gangster.

See also:

• Ready for young gangsters in Antapal

Review: Four Stations

• Directed by Boonsong Nakphoo
• Limited release at Lido cinemas, Bangkok, June 14-20, 2012
• Wise Kwai's rating: 3/5

Boonsong Nakphoo once directed a mainstream Thai comedy called Crazy Cops. He eventually became fed up with the film industry and went the indie route, last year self-releasing the low-budget Poor People the Great, the story of a downtrodden farmer that he patiently shot in the rural areas of his home province of Sukhothai, with his friends, neighbors and family as cast members.

Now Boonsong takes another look at poor Thai folks, with a compilation of four stories in Four Stations (Sathanee See Phak, สถานี 4 ภาค). The interwoven tales about two rural families, an elderly monk and a disenfranchised migrant worker are taken from short stories by well-known Thai authors, mostly winners of the prestigious Southeast Asian Writers' Award (SEA Write). Each of the writers represents one of the "four regions" of Thailand –  North, Northeast (Isaan), Central Plains and South. The stories are "Dtu Pboo" ("ตุ๊ปู่") by Mala Kamchan (มาลา คำจันทร์) from the north, "Songkram Cheewít Suan Dtua Kongtoo Taa"  ("สงครามชีวิตส่วนตัวของทู-ทา") by  Wimon Sainimnuan, a.k.a. Wat Wanlayangkoon (วัฒน์ วรรลยางกูร) from the central plains, "Lom Laeng" ("ลมแล้ง") by Khamsing Srinawk a.k.a. Lao Khamhom (ลาว คำหอม) from the northeast and "Baan Glai Reuan Kiang" ("บ้านใกล้เรือนเคียง") by Paitoon Tanya (ไพฑูรย์ ธัญ ญา) from the south.

The movie screened in limited release at the Lido cinemas in Bangkok's Siam Square, and the director himself was present for a Q&A session afterward, but due to pressing other engagements I couldn't hang around, so any questions I had went unanswered, so this is perhaps not the most-informed review of the film.

For one thing, it looks like all the segments were shot in the same general area, despite coming from the authors of the "four regions". But it still works.

One story is about an elderly Buddhist monk, who despite his bent-over, general state of decriptness, insists on going on the morning alms rounds. He slowly plods along in his hunched-over, Yoda-like state, his wooden cane banging on the ground to punctuate his slow, methodic steps. The younger monks are the paragon of Buddhist calm as they plod along behind the slow-moving senior monk. But back at the temple, the younger monks find various ways to disresprect the senior monk. Boonsong himself shows up in this segment as a travelling vendor of woven mats that he tries to sell the monks or exchange for a night of room and board at the temple. Stuck in his ways, the elder monk refuses to allow the man to stay, but he stays anyway.

There are two family stories. One has a pair of neighboring farm families, on either side of a forest thicket entering into an escalating feud. The wives of the families can't stand each other, and shout shrill insults while the men engage in more passive-aggressive activity. For example, one guy urinates in his neighbor's prized sugar wine. A tragedy ultimately brings them together and they put aside their differences.

The other family tale has a former novice monk, a chubby little boy, returning home to an overburdened family of two sisters, an angry mother, a henpecked father who can't find work. The family's only real asset is a water buffalo who later plays a crucial role. And it seems that since the boy returned home, nothing has gone right for the family, and the boy begins to blame himself for their misfortune.

And there's the story of the migrant laborer from Myanmar, whose Mon wife from back home shows up. But their reunion is all too brief. She's soon snatched up by the police. So the guy goes to his Thai boss for help in bailing her out of jail. At one point, it gets absurd, with the worker and his boss on a motorbike trying to chase down the police paddy wagon on the highway. Later, the guy goes to work in Bangkok and finds himself playing hide-and-seek with a couple of thugs – they are either plainclothes cops or just shake-down artists who prey on foreign migrant workers.

The story of the migrant worker is the main constant of the picture, with its story told from beginning to end. The segments about the old monk and feuding families peter out about halfway through, leaving the stories of the migrant work and the little boy and his troubled family to take up the slack.

I found the uneven length of the stories a bit distracting because as the other stories continued I was left wondering if the other stories had really run their course.

But what I liked about Four Stations, and Boonsong's previous feature Poor People the Great, was their unpretentious and forthright manner of storytelling. I look forward to more films by this guy.

Review: I Miss U

• Directed by Monthon Arayangkoon
• Starring Apinya Sakuljaroensuk, Jessadaporn Pholdee, Natthaveeranuch Thongme
• Released in Thai cinemas on May 31, 2012; rated 18+
• Wise Kwai's rating: 3/5

After the teen dance-romance Big Boy in 2010, Monthon Arayangkoon, who previously directed the Thai kaiju horror Garuda and the ghost thriller House makes a welcome return to the thriller genre with I Miss U (รักฉันอย่าคิดถึงฉัน, Rak Chan Yaa Khid Tueng Chang).

It is slow-paced and has a Thai love-song motif that gets used too much, but there is a bit of decent gore, a few good scares, a fair bit of suspense and even a humorous fake jump or two, all of which should make I Miss U a welcome view by Asian horror fans.

The ghost girlfriend drama stars Apinya Sakuljaroensuk as a young first-year resident surgeon at a Bangkok hospital. During her first operation, she runs into trouble and is bailed out by the chief resident Dr. Thana, played by Jessadaporn Pholdee. Young Dr. Bee has the temerity to talk back to the hotshot Thana, and he appeciates her spunk.

However, a colleague warns Bee that Thana is tainted goods. The doc hasn't been the same since the death of his fiancee in a car wreck, and it's rumored that any woman who approaches Thana is soon visited by the ghost of his wife-to-be, Dr. Nok (Natthaveeranuch Thongme).

That leads to a good early gore scene in an elevator, after a nurse sweet-talks Thana and passes him her phone number. Dr. Nok's ghost soon gets on the lift and bashes her head bloody on the wall for only the nurse to see and sending the young woman into hysterics.

Dr. Thana is one messed-up dude. He's so devoted to his dead girlfriend, that each week he leaves a fresh bouquet of white roses at the spot on the oddly deserted expressway where his car was cut off by a motorbike and rolled over, causing Nok's death. The weekly flower bouquet has been noticed by the media and become something of a sensation in this age of vapid, viral media. A camera crew ambushes Thana at the spot and sends the surgeon scampering away.

There's also giant posters of Nok in Thana's spacious home. And, whenever he orders coffee, he gets two cups, a latte for him and an Americano for Nok. The cups sit on the table, arranged just so, as if Nok were sitting there sipping along with him.

Gradually, the perky little Dr. Bee is let into Dr. Thana's world, and she's soon seeing Nok's ghost.

But Bee also has a rival for Thana's hand – a man-eating socialite portrayed by Monthon's House star Inthira Charoenpura, who oozes dusky, dragon-lady sexiness. Billed as a "special guest star", it's a bit of a different role for the Nang Nak and Naresuan star, but it looks like she had fun playing the bad girl.

Later, little Bee confronts her, and it's a pretty cool scene. The young Saipan Apinya, who made her debut in Pen-ek Ratanaruang's Ploy as the afro-haired title character and has since gone on to be a quite prolific film actress, is quite short in stature compared to the taller, more athletically built Sai Inthira, who looks like she could eat Apinya for breakfast. But Saipan holds her ground, and karma is served.

More weird stuff about Thana is revealed, like how he arranged for Nok's corpse to be kept in the teaching hospital's morgue as a research cadaver. And there, on a gray, withered hand is the ring he gave her.

Bee, trying to make sense of it all, visits the corpse and finds herself chased by a bird (nok, in Thai language means bird), and it's perhaps a little nod to Hitchcock as a single sparrow chases Bee down the stairs.

In a bizarre move by studio M-Thirtynine, the movie was released in Thai cinemas with three different endings, each playing on certain weeks during the movie's run. I can't believe the studio would expect movie-goers to head down to the cinema three weeks in a row just to catch a different ending. In this era of digital downloads and YouTube, the different ends are best left as an extra on the DVD release or as a premium on the VOD version.

I've had the other endings described to me, and the one I saw I think made the most sense, even if was ambiguous, which is not a bad thing. Thai movies tend to have these nicely tied-up, perfectly happy endings, even if they've been sad. The ambiguity is refreshing.

I could have done without the repeated refrains of the sappy Boyd Koysibong love song though. It was apparently the favorite of Dr. Nok, a point that's hammered mercilessly. It got old.

A bright point toward the end was rumination about the moment of death, and what it means to loved ones who are there to witness it. What is it that keeps the spirit of our dearly departed attached to our consciousnesses? In some cases, it's love, or perhaps just plain grief.

But in Dr. Thana's case, it's guilt.

See also:

• Trailer at YouTube

2012 Amazing Thailand 9FilmFest: Grand prize goes to Video Call

The winners pose for the photo call. Phone-cam snap by Wise Kwai.

The ups and tragic downs of a couple's relationship as viewed through a video-call screen in Video Call was the top-prize winner at the second edition of the 9FilmFest on Sunday night at Siam Paragon.

Directed by Wattanapong Wongwan,Video Call won the 600,000-baht grand prize in Thailand's richest movie festival. The short had a guy talking to his video phone cam with his girlfriend in a screen-within-the-screen. At first, they make sweet talk with each other and then joke. But when the guy takes too long to answer one time, the girlfriend immediately becomes suspicious and assumes he's cheating on her. The shocking truth leaves her red-faced with shame and sorrow.

Jury member MC Chatrichalerm Yukol said after the ceremony that he liked Video Call the best because it was "unpretentious".

The second-place Grand Prize, worth 100,000 baht, went to the comical Friend. Directed by Narongchai Parthumsuwan, it's about a guy who wears a Japanese superhero costume and is very lonely. His depressing life takes a turn when he strikes up an online friendship and the two meet for the first time, only to see that they both wear Japanese superhero costumes. They then take in the various sites around Thailand.

Interestingly, another winning short also dealt with people who wear costumes, the 20,000-baht honorable mention winner Jack's Chronicle by Pissapob Silltham. The documentary style short is about a group of folks who appear in public in big furry animal costumes. They eventually get in trouble with the police, but are let off with a warning and told not to dress up as animals anymore. They still have the compulsion to dress up in costumes, so their hilarious solution is to dress up as something else, but not as animals.

Of course their solution has something to do with this year's signature item that must appear in all shorts, the heart.

Another big winner was Numberman in Love, a sequel to one of last year's winning films. Directed by Eiji Shimada, it won an honorable mention and the 20,000-baht best actor prize for Yuto Tanabe.

Also taking two prizes was the romance and break-up rumination The Moment, which netted director Pathomwat Wansukprasert a roundtrip flight to Seoul on Thai Airways and the 20,000-baht best actress prize for "Cream" Naphatsorn.

The third honorable mention prize went to the bizarre Love Cookies by Sugimasa Yamashita, which depicts a strange, dialogue-free dystopia in which people's love for one another is manifested by heart-shaped cookies magically appearing in your shirt pocket. You then give that cookie to someone else or munch on it yourself. At one point a golden retriever is petted by his owners, and a pile of cookies tumble from the dog's breast to the ground.

Along with cash awards and airline tickets, other prizes included a lease on a Ford Fiesta and an iPhone.

Winners of the car were Rattha Buranadilok and Thammaruja Dharmasaroja's Where the Heart Is (as in home), for best cinematography, and the third-place film prize, Rec*Life by Titsalak Kamngam.

Smiling Heart won the AIS Popular Award and an iPhone 4s for director Karawee Chokkunawattana.

This year's 9FilmFest was held inside, in the Paragon Cineplex's Infinitcity Hall. Each short was preceded by a short video introduction by the directors.

And, before the prizes were announced there was a mini-concert by Grammy Award-nominee Howard McCrary. Along with a few classic R-and-B and pop tunes, he performed a pair of songs he composed for one of the short films, Smiling Heart, in which he stars as basically himself, an American entertainer vacationing in Thailand. He is shown visiting the tourist sites in Ayutthaya where he is enraptured by the famous Thai smile. Meanwhile, his gold watch and jewellery attract the attention of local thugs, who drug his drink and steal his belongings – a surprising turn of events, given that one of the sponsors of the festival was the Tourism Authority of Thailand. But, robbed of all his possessions, it's only then does he find the meaning of true happiness.

Emcees for the evening were filmmaker and former Miss Thailand World "Pop" Areeya Jumsai and Iron Pussy star and director Michael Shaowanasai.

Meanwhile, festival founder Brian Bennett announced the signature item for next year's films: the river. So get out on the river and make a movie. Maybe you can win 600,000 baht.

NYAFF 2012: Gangstas, ghouls and girls in Dead Bite

It's that time of year again, when the wacky folks who put on the New York Asian Film Festival take over the Walter Reade Theater at Lincoln Center and screen some of the craziest movies on the planet.

This year's Thai entry is Dead Bite, a ripping horror comedy featuring bouncing bikini babes, amiable hip-hop musicians and zombies.

Directed by rapper Joey Boy and starring him and his colorful hip-hop crew, it was released in Thailand last year as Gancore Gud (ก้านคอกัด).

Here's an excerpt from the festival website:

One of the beautiful things about the Thai film industry right now is that it’s functioning a lot like Roger Corman’s classic exploitation studio, AIP: if you’ve got the right actors, a marketing hook, and a high concept, you’ve got a greenlight. While this means that a lot of cruddy movies get made, it also means that the occasional trash classic slips under the wire and hits screens like a big blast of reefer smoke. Such is the case with Dead Bite. Joey Boy is a hiphop star who’s buddies with Will.i.am of the Black-eyed Peas and you can just see him in the pitch meeting for Dead Bite, “See, I’m going to get my hiphop crew, the Gancore Club, to play themselves in a zombie movie featuring lots of girls in bikinis. And then they all get killed.” Cue gangsters signing checks and cameras starting to roll.

Head on over the festival website for more details, as well as a music video and an English-subtitled trailer.

Dead Bite screens at 11.10pm on Friday, July 6 and at 3.50pm on Wednesday, July 11. I had two pairs of tickets to give away, but they are all gone.

The New York Asian Film Festival runs from June 29 to July 12 at Lincoln Center and from July 12 to 14 at the Japan Society.