Here are the films and its screening skeds:
June 10, 2015 (Wednesday), 5:30 PM
“The Old Photographer”
by Thet Oo Maung (Myanmar, 2014, 15 min)
An affectionate portrait of ninety-year-old Indian photographer G. M. Ahuja, who still lives in the once popular photographic studio in downtown Yangon that his father opened almost a century ago.
“Behind the Screen”
by Aung Nwai Htway (Myanmar, 2013, 35 min)
A son dissects the marriage of his parents, who were film icons in 1960s Myanmar (then known as Burma). It turns out the heartrending scenes they acted out on the silver screen are a pretty accurate reflection of their real lives. While the camera slides across the glamour photos from their heyday, the filmmaker looks on, entranced. He grapples with the incredible fame of his parents. Now that he is reconstructing their relationship, he sees the old film footage through different eyes – as if it might contain the answers he didn't get as a child, when his parents separated.
“Farewell my School”
by Ucu Agustin (Indonesia, 2013, 13 min)
Lintang is 11, and for seven years now he has been attending a school in Jakarta for children with a visual handicap. And he loves it there. He is almost completely blind, and his best friends can see nothing at all. Lintang explains that he's got "low vision," and he can only distinguish things from extremely close-up. Several shots illustrate what the young Indonesian protagonist can actually see, and it's not very much. But Lintang and his friends have grown accustomed to all the challenges that come with being blind, and they spend their days swimming, playing outside and making music. Everyone at school knows Lintang is the best drummer there, but their music lessons come to an end when Lintang's parents decide he should go to a regular school. After all, he is a very independent 11-year-old who can cook, do laundry and shop for groceries all by himself. As the day of departure approaches, the camera follows Lintang and his buddies, both at school and in their happy free time together. The boys are more concerned about the approaching separation than about their inability to see. They practice together for Lintang's spectacular farewell performance.
“The Flaneurs #3”
by Aryu Danusiri (Indonesia, 2013, 5 min)
Part of his multi-sensory project to investigate emerging Islamic movements in post-Suharto urban Indonesia, Aryo Danusiri’s documentary captures a throng of believers crowding in front of a stage, in the wake of speeches by movement leaders.A man finds a woman on a train and sits beside her. She recognises him, but is puzzled by how he found her. Just where will the train, and their conversation, lead?
“Fiesta”
by Alexander Cruz (Philippines, 2013, 7 min)
Fiesta is a look at the Santo Nino Fiesta in Pandacan, Manila in the Philippines. Hedonism, tribalism and flashes of colonialism are a constant reminder of the country’s turbulent story. Beginning with tribal rhythms and enthusiasm, the viewer is swept through the streets with festival-goers, through to an explosive reminder of the tragedy that Manila has endured.
JUNE 11, 2015 (Thursday), 5:30 PM
"Where I Go"
by Kavich Neang (Cambodia, 55 min)
San Pattica is a mixed Cambodian-Cameroonian adult whose father is a Cameroonian soldier who came to Cambodia in 1992-1993 as United Nation peacekeeper. Since Pattica’s parents left home for many years, Pattica was raised by his grandmother. Challenge and difficulty in his family forced his grandmother to bring Pattica to study and live in an orphanage center. Pattica has become more interested in knowing about his own identity since he is a victim of discrimination in his daily life.
"Madam Phung's Last Journey"
by Nguyen Thi Tham (Vietnam, 87 min)
A former monk who left monastic life because "I saw beautiful fags praying, and felt like running away," Phung is a canny businesswoman who got her start as a singer, and saved her money in the form of gold bars she would bury in the ground. Now she is something of a den mother to her largely transgender troupe - berating them when they drink or fight too much, warning them to stay out of trouble, and dealing with local police and occasionally hostile locals when necessary. MADAME PHUNG'S LAST JOURNEY also captures Phung at a critical moment in her life. Now 40, she is haunted by fears of ageing, concerned with fixing bad karma, and worried about what might happen to her troupe after she is gone.
JUNE 13, 2015 (Saturday), 1:30 PM
"Wukan: The Flame of Democracy"
by James Leong and Lynn Lee (Singapore, 90 min)
Wukan is a village in the Chinese province of Guangdong, and in 2012, its inhabitants experienced a phenomenon that was unique in this country: democratic elections. This event was so exceptional that it attracted the attention of the international press. The elections didn’t take place without a struggle, however, and there were weeks of protest and the death of an activist leader in the run-up to them. But ultimately the villagers were successful in ejecting the incumbent local Communist government, which had held power for decades and was accused of irresponsibly selling off Wukan land. The documentary begins when the dust has settled after the uprising, and the demands made in the heat of battle are being fulfilled. Although battle scars are still clearly visible, there is now some serious work to be done. Recovering the land is a slow process, and the villagers turn up the pressure on their newly elected committee. Democracy is no guarantee for social calm, and Wukan is a textbook example of the wave of new democracies sweeping across the globe. One villager, red with anger, yells at his new leader, “You are like Egypt’s President Morsi!”
JUNE 14, 2015 (Sunday), 1:30 PM
"War is a Tender Thing"
by Adjani Arumpac (Philippines, 70 mins)
War is a Tender Thing retells the blood-soaked story of war-torn Southern Philippines. Portrayed by the media as a locus of unbridgeable conflicts between and among different cultures living side by side, this documentary gently unravels the war as an endless attempt at survival and adaptation of the Southern Philippine citizens to state policies that disregard the most basic concept of home. How does one account for the many lives played upon by these political maneuvers that have not taken into consideration the faceless and nameless? One listens to their stories, however imperfect, however partial. These memories make up a narrative of the war that is as cogent as the factual telling.
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