Fukada Koji Talks Venice Competition Film ‘Love Life,’ Loneliness and Bitter Little Ironies

Patrick Frater Asia Bureau Chief Wang Xiaoshuai, director of “So Long, My Son” and “Red Amnesia,” will be the most senior mainland Chinese director to present a new film at a major Western festival this year. That may be a reflection of the growing political and economic separation between China and the West over the past couple of years — with COVID an additional irritant. But tough times can also breed innovation. Wang’s latest, “The Hotel,” a chamber piece about a small group of Chinese tourists trapped in a hotel in Thailand during the early days of the pandemic, was inspired by events that Wang personally endured in 2020. It was made in almost improvised fashion, with a hastily written screenplay and shot with available crew.

Patrick Frater Asia Bureau Chief Jack Neo, who is by far Singapore’s most commercially successful filmmaker, has begun production on “King of Musang King,” a comedy that he envisages being ready for release at Chinese New Year in January. The narrative gives prominent position to durians, the smelly Southeast Asian fruit that most people either love or hate. Neo (“Money No Enough,” the “Ah Boys to Men” franchise) will co-star, direct and produce through his J Team Productions. The film will be presented by J Team, mm2 Entertainment and Cathay Cineplexes. The story revolves around a man (played by Mark Lee), his abandoned Malaysian wife (played by Yeo Yann Yann), and childhood friend Mao Shan (played by Jack Neo).

Patrick Frater Asia Bureau Chief Luke Hemsworth (“Westworld”), Milo Ventimiglia (“This Is Us”), Ricky Whittle (“American Gods”), Daniel MacPherson (“Poker Face,” “Foundation”) and Chika Ikogwe (“Heartbreak High”) join Russell Crowe and Liam Hemsworth in the cast of action thriller “Land of Bad.” The previously announced title will shoot from later this month on the Gold Coast and Southeast Queensland, it was announced on Thursday.

Patrick Frater Asia Bureau Chief Family comedy “Table For Six” has set an opening day local record for a comedy film in Hong Kong, to the relief of producers who were forced to digest a releasing delay of six months. The Sunny Chan-directed film opened Wednesday in Hong Kong and Macau at 61 theatres, playing a total of 608 sessions. That gave it an accumulated box office of HK$1,986,701 ($255,000). “Table for Six,” which chronicles a family’s holiday gathering where food, love, friendship, jealousy and relationships are on the menu, had originally been planned as a dish to be served at Chinese New Year, in February. And producers had assembled a cast of major Hong Kong and regional talents, including Dayo Wong, Stephy Tang, Louise Cheung, Ivana Wong, Lin Min-Chen and Chan Charm Man.

Patrick Frater Asia Bureau Chief

Patrick Frater Asia Bureau Chief Make no mistake: CJ ENM is on the move. The South Korean conglomerate that has done as much as any company to build out the nation’s entertainment ecosystem is actively looking to expand its “production capability and competency.” That’s the word from Kang Ho-sung, CEO of the cluster of film, TV and music companies that now share the CJ ENM banner. Kang gave a rare, extensive interview to Variety on Aug. 21 in downtown Los Angeles on the sidelines of CJ ENM’s KCON LA pop culture convention, which brought in close to 100,000 fans from across the U.S.

Patrick Frater Asia Bureau Chief Prolific Japanese film director Miike Takashi and Indonesian genre specialist Kimo Stamboel will be among the star names in the ‘On Screen’ section of the Busan International Film Festival given over to TV series. Miike has made “Connect,” a Korean-language crime fantasy thriller about a man who is kidnapped and has one of his eyes removed by a gang of organ harvesters and transplanted into the body of a notorious serial killer. The unwilling donor now has terrible visions as he witnesses terrifying attacks on the residents of Seoul. The show was written by Nakamura Masaru and Heo Dam (“Monstrum”). It features Korean talent including Jung Haein (“Snowdrop,” “Start-Up,” “Tune in for Love”) in the lead role and Ko Kyungpyo (“Decision to Leave,” “Seoul Vibe,”) as the serial killer, and Kim Hyejun (“Inspector Koo,” “Kingdom,” “Sinkhole”) as the mysterious Irang.

Patrick Frater Asia Bureau Chief Tony Leung Chiu-wai, the Hong Kong star of “In The Mood For Love” and Marvel’s “Shang-Chi and the Legend of the Ten Rings” has been named Asian Filmmaker of the Year by the Busan International Film Festival. Leung will collect his award at the festival’s opening ceremony on Oct. 5. 2022. The festival will open with a screening of “Scent of a Wind” by Iranian director Hagi Mohaghegh. Busan organizers said that the festival will play a total of 243 films (features and shorts) from 71 countries and territories. These include 89 world premieres and 13 international premieres.

Guy Lodge Film Critic Even the most solidly founded of marriages can be strained and shattered by the death of a child. For handsome, wholesome Japanese couple Taeko and Jiro, however, that tragedy shows up all the fault lines that were already in their young relationship, and that’s before living ghosts of the past show up for both partners. Koji Fukada’s “Love Life” unabashedly embraces melodramatic contrivance in its examination of modern middle-class love tested as much by social prejudices as by personal demons; it just does so with such pallid, polite reserve that its sentimentality never becomes transcendently moving. As such, this agreeable but overlong pic finds the Japanese writer-director still struggling to regain the form of his jolting 2016 Cannes prizewinner “Harmonium.”

Grief and guilt are the twin quiet rivers running beneath Koji Fukada’s ambiguously titled Venice competition entry Love Life, a delicately tangled story of generational conflict and the silences that, without being overtly aggressive, can drive people apart. Anyone familiar with the work of Japan’s greatest cinema maestro, Yasuhiro Ozu, will recognize the general territory. It is a space within which tectonic social shifts are disguised under layers of traditional social observance, often involving large meals, and where profound emotions may be — and often must be — contained within a glance.

Julianne Moore sparkles her way down the red carpet for her latest appearance at the 2022 Venice Film Festival.

The tragedy at the center of “Love Life,” the new film from Japanese director Kōji Fukada which premieres in Competition at this year’s Venice Film Festival, does not come to disrupt a perfectly happy family. Cracks are visible in the facade of the life shared by Taeko (Fumino Kimura) and Jiro (Kento Nagayama) even before the fatal accident that claims the life of Keita (Tetta Shimada), her young son from a previous marriage.

Elsa Keslassy International Correspondent MK2 Films has scored key territory deals on Japanese director Koji Fukada’s “Love Life,” which makes its world premiere in competition at the Venice Film Festival. Set in contemporary Japan, “Love Life” is a character-driven film revolving around Taeko and her husband, Jiro, who are living a peaceful existence with her young son, Keita. When a tragic accident brings the boy’s long-lost father, Park, back into her life, Taeko throws herself into helping this deaf and homeless man to cope with the pain and guilt. Popular Japanese actress Fumino Kimura (“The Fable: The Killer Who Doesn’t Kill”) headlines the film. MK2 Films has now sold the movie to Teodora (Italy), Imagine (Benelux), Leopardo (Portugal), Demiurg (Ex Yugoslavia), New Cinema (Israel), Swallow Wings (Taiwan), Edko (Hong Kong), Impact Films (India) and Encore Inflight (Airlines).

Patrick Frater Asia Bureau Chief Art-house title “Return to Dust” was a surprise weekend winner, topping the mainland China box office in its ninth weekend of release. The astonishing feat occurred on an otherwise depressed weekend in which China’s cinema box office dipped to a three-month low. This reflected the summer season winding to an end and anti-COVID measures once again forcing major Chinese cities into retreat. Data from consultancy Artisan Gateway showed “Return” grossing $5.3 million (RMB36.2 million) between Friday and Sunday. Those three days accounted for nearly half of the $12.7 million (RMB87.4 million) cumulative total it has earned since release on July 8, 2022.

Patrick Frater Asia Bureau Chief South Korea’s cinema box office slipped to its lowest level since mid-May as local film “6/45” took the top spot with just $3.06 million over the weekend in its second week of release. Comedy “6/45” was released a week earlier and scored $2.74 million in its opening weekend, according to data from Kobis, the tracking service operated by the Korean Film Council (KOFIC). The latest weekend, then, represents an 11% improvement for the title. It increased its share of the market to 45% during the latest weekend and advanced its cumulative total to $8.36 million. Depressed by a lack of significant new releases, the nationwide box office over the Friday to Sunday period, however, dropped to $6.75 million. This was the lowest scoring weekend since the first half of May.

Patrick Frater Asia Bureau Chief Two Korean and two Indian movies make the cut in the Busan International Film Festival’s New Currents main competition section. Thet are joined by one each from Thailand, Singapore, Vietnam, Malaysia and Germany. The section has a track record of making significant discoveries among new Asian films and directors.The selected titles are eligible for multiple awards, including the New Currents Award, the FIPRESCI Award, the NETPAC Award, and the KB New Currents Audience Award. The selection comprises: “Ajooma,” directed by Hu Shuming (Singapore-Korea); “Blue Again” from Thailand’s Thapanee Loosuwan; “Hail to Hell,” by Korea’s Lim Oh-jeong; “Memento Mori: Earth,” by Vietnam’s Marcus Vu Manh Cuong; “No End,” directed by Nader Saeivar and flying the flags of Germany, Iran and Turkey; “A Place Called Silence,” by Malaysia’s Sam Quah; “Shivamma,” fromIndia’s Jaishankar Aryar; Japanese director Kubota Nao’s “One Thousand and One Nights”; “A Wild Roomer,” from Korea’s Lee Jeong-hong; and The Winter Within,” directed by Aamir Bashir, and structured as a co-production between India, France and Qatar.

Patrick Frater Asia Bureau Chief Netflix on Friday announced a slate of upcoming films and TV series from Indonesia. The company says this is its most ambitious outreach in the populous and influential Southeast Asian country. The seven new titles span sci-fi thriller, comedy and period drama genres and involve big name creators Joho Anwar (“Satan’s Slaves,” “Impetigore”), Timo Tjahjanto (who is also part of the creative duo Mo Brothers) and Kamila Andini (“The Mirror Never Lies,” “Yuni”). They were announced at an in-person event in Jakarta called Waktu Netflix Indonesia (which translates as ‘Time for Netflix Indonesia). The company said that the slate reflects its “commitment to helping the [Indonesian] industry build compelling content from the country and taking these stories to the world.”

Patrick Frater Asia Bureau Chief Kore-eda Hirokazu will be the star turn at Emerging Japanese Films, a Los Angeles showcase organized by Japan’s Visual Industry Promotion Organization. The event, running Sept. 27 – Oct. 1, 2022, at the Harmony Gold Preview House, consists of four newly-released, dramatic and awards-worthy Japanese feature films and a retrospective night that honors Kore-eda, whose “Shoplifters” won the Palme d’Or at Cannes in 2018. Kore-eda will take part in a live video conversation after the screening of his “Like Father, Like Son,” a child-swap drama film that Steven Spielberg and Dreamworks previously optioned for remake.

Patrick Frater Asia Bureau Chief The Busan International Film Festival will further honor its co-founder and former programmer Kim Jiseok, who died suddenly in 2017, by expanding the existing prize in his name into a fully-fledged competitive section. Previously, the Kim Jiseok Award was given to one of ten films selected from the ‘A Window on Asian Cinema’ sidebar which introduces new films from significant Asian directors, defined as those who have each made more than three films.  “Starting this year, the Kim Jiseok Award nominees have been sorted into a section of their own, namely the ‘Jiseok’ section. Also, Korean films will be included in the ‘Jiseok’ section,” Busan organizers said. “This program section aims to both reinforce the spirit and determination of [Kim], who devoted himself to the growth and support of Asian films, and direct attention to the nominated works.”