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Sofia Coppola’s back with SOMEWHERE

Finally.  A trailer.  

Sure to resurrect Stephen Dorff’s career, establish a Team Dakota vs. Team Elle tabloid rivalry, feature a killer new wave soundtrack, and reignite my burning twentysomething fantasy of holding hands with Sofia Coppola . . . but why do we have to wait until December?

Youtube Collaborates with the Guggenheim

No other medium is pushing the boundaries of creativity like video. YouTube Play, a collaboration between YouTube and the Guggenheim Museum, wants to recognize and showcase the most remarkable online videos from around the world. To have your work considered simply post it on YouTube and then submit it at A jury of experts will decide which works will be shown at the Solomon R. Guggenheim Museum in New York.

Submissions close July 31, 2010.

Can someone help me find my socks cause this promo just blew them right–ahh, you get the picture. In short, WHOA.


Last year’s HIFF 2009 brought a significant amount success stories that are making 2010 a fabulous year for film (PRECIOUS, THE IMAGINARIUM OF DR. PARNASSUS, THE PEOPLE I’VE SLEPT WITH, etc, etc, ETC)  

One in particular, HARIMAYA BRIDGE (2009), has finally had it’s closing week at Dole Theaters after an astonishing seven week release following the footsteps of DEPARTURES (featured at HIFF 2008).

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In this film, father Daniel Holder deals with the death of his son by traveling to Japan to claim his son’s artwork. As you can imagine, there is a loss of translation and more than a handful of cultural differences–they take their shoes off here and I find that weird, kinda thing–in spite of everything, Daniel learns more about his son than originally planned while still grieving over their tumultuous relationship. 

To catch a glimpse, we’ll just now have to wait for it’s DVD release (or Netflix release if you’re like me and hate going outside) which is scheduled to come out sometime in Fall 2010.

Fasten Your Seat Belts!

[img_assist|nid=335|title=Maggie Q Accepts Maverick Award at 2009 HIFF|desc=Photo by Rae Huo Photography|link=node|align=left|width=160|height=240]Our eyes have been glued on Maggie Q ever since she seductively slipped her way out of an orange Lamborghini in that slinky red dress in Mission: Impossible III.  Vatican City hasn’t looked that sinful since, well… maybe we shouldn’t go there.  Point is the Hawai’i native, and HIFF 2009 Maverick Award winner for Warrior and the Wolf, is showing no signs of hitting the brakes.  Catch her in The CW’s revamped vehicle NIKITA this fall television season.


HIFF’s 2009 Festival Trailer wins Key Art Award!

It was recently announced that HIFF’s 2009 Festival Trailer, created by Hyperspective Studios and Orangeroc and starring Daniel Dae Kim, won a Key Art Award for the “Theatrical Audio/Visual – Festival Audio/Visual” category at the The Hollywood Reporter’s 39th Annual Key Art Awards. See the 2009 trailer below, and check out older HIFF trailers going back to 1994 on our Vimeo page. “What do you see?”

From the Hyperspective Studios description:
“Hawaii International Film Festival 29 trailer for 2009 starring Daniel Dae Kim from LOST titled “What do you see?”. Produced by Hyperspective Studios and directed by Todd J. Robertson. Ink blots present an opportunity to see anything that you want to see. This short brings to life the visions of a writer struggling to finish a script.”

Kamehameha students create “Lip Dub” viral video

You may have recently seen part of this great Lip Dub video on the local news channels. It was created by the Advanced Video Production class at Kamehameha Kapalama Campus, and features over 300 students at the school. In case you’re not familiar with what a Lip Dub is, it combines lip synching and audio dubbing to create a music video. Many of the more popular lip dub videos on Youtube use a long, moving shot technique where the participants and the camera travel through a location. More details about this below, check out the video:

This video was shot in one day, and involved four long takes which were edited together. One of the segments was filmed with the intention of playing it backwards, which posed quite a challenge. Instructor Leah Kihara, director Kameona Hokoana & cameraman Micah Mizumoto talk about how the video was made on KITV4. Also, Hawaii News Now talked about this last Thursday in their ‘Viral Video’ segment.

Bonjour, Summer

On my way to work this morning, Alice Cooper came on the radio to remind us that school’s out.  When I got to my desk, I found in my inbox the much-awaited monthly email from indie theatre Movie Museum in Kaimuki to learn they’re screening Summer Hours (L’heure d’ete). HIFF showed Summer Hours in Spring 2009.  Then I was driving into Chinatown to meet fellow blogger Dana at Manifest, when I almost ran over a group of seven middle schoolers.  In short:  Aaah, summer is everywhere!

At Movie Museum, TONIGHT Friday (6/5), Summer Hours is about a family’s struggle with what to do with their mother’s prized art collection after she passes.  The leads drink wine, discuss art, share nostalgic family memories in patio-courtyard, hang out with Juliette Binoche, drink wine, make fun of each other, have rendezvous in Parisian apartments, did I mention they drink wine?  Basically, you want your life to be a French-ensemble movie!

We did it, man. We did it.

EASY RIDER (1969) written and directed by Dennis Hopper — where I learned how to be free.

3D in 2010 AD

This 3D stuff is kind of awesome.  It’s sort of like tabasco is to, hmm, everything.  Just a little bit can make the unappetizing transform to quasi-appealing.  I’m not embarrassed to say it, but I nearly had a panic attack while watching the Shrek Forever After trailer–why are characters almost hitting me in the face?  It was my first experience with the new Polarized RealD Cinema thing, so I really didn’t know what to expect. With nearly 100 movies due out over the next couple of years, I’m anticipating my anxiety level to shoot through the roof.

Here’s a short clip from HOUSE OF WAX (1953)–it’s one of the first films using Anaglyph technology (the earliest 3D method)


HIFF is celebrating it’s 3(D)0th anniversary this year, so lets remember to get out there in real time and keep cinema alive and well!

Anderson’s report from the 63rd Cannes Film Festival

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The 63rd annual Cannes Film Festival closed today with Thai film UNCLE BOONMEE WHO CAN RECALL HIS PAST LIVES winning the coveted P’alm d’Or. The film, directed by Apichatpong Weerasethakul, was received warmly by critics and audiences alike. Apichatpong, or “Joe” as he is also referred as, almost didn’t make it to France because of the current political turmoil in his native Thailand. Indiewire has a full list of winners and their reactions.

Overall, it was a decent festival, with some good selections in the official selections. I felt the Un Certain Regard sidebar was the best, presenting some very interesting works from emerging filmmakers. My personal favorite from this sidebar was CARANCHO directed by Pablo Trapero. Set in Argentina, the film is an unlikely love story between Sosa, an ambulance chaser, and Luján, a young doctor. Derek Cianfrance’s BLUE VALENTINE, which world premiered at Sundance, stars Ryan Gosling and Michelle Williams, as a couple experiencing the deterioration of their relationship.

Mike Leigh’s ANOTHER YEAR and Stephen Frears’ TAMARA DREWE represented the strength of British cinema this year, and both of these titles will, thankfully, be released in the States during the Fall/Winter awards season. On the other hand, the emerging themes of videogames and virtual reality was presented in three titles this year, with very mixed results. R U THERE, a Dutch/Taiwan co-production about a Dutch competitive gamer who loses his way and tries to connect with another human being, in the form of a Betelnut girl was slow and asinine at times, and J-horror maestro (he of RINGU fame) Hideo Nakata’s UK based film CHATROOM, was outdated, as if I was watching a film about the Internet from the early 90s.

Korean cinema was strongly represented with three titles — Im Sang-soo’s “reimagining” of THE HOUSEMAID starring the best actress from Korea, the daring, innocent and very sexy Jeon Do-yeon (SECRET SUNSHINE). It was gorgeously shot and the sexual mind games entwined with the class system was a sight to see. First time director Jang Cheol-soo’s BEDEVILLED, in the Semaine de la Critique (Critic’s Week section), was a film I had very little expectations about the lone woman on a remote island that is constantly abused by the village elders and her abusive husband. It turned out to be a classic “woman revenge” thriller, where the last 45 minutes is bloody curdling genre was oddly a much needed release from the abuse she took on screen. Finally, enfant terrible, Hong Sang-soo’s HAHAHA, continues his examination on pretentious and horny male intelligentsia, was agreeable enough for the film to win the Grand Prize in this section.

This year’s edition was light on the usual Hollywood glitz and glamour of past editions — aside from the Opening Night film, ROBIN HOOD, bringing the likes of Russell Crowe and Cate Blanchette to the Croisette, Hollywood fare was almost non-existent, leaving room for selections from European auteurs and emerging filmmakers. Screenings were easier to get into and there were definitely less parties. The penny pinching atmosphere was very apparent this year, as the Festival fully felt the film industry credit crunch.

And still, the ubiquitous things about Cannes still existed. There were still glamorous parties, the big AmFar AIDS fundraiser hosted by Harvey Weinstein, day clubs full of exotic and beautiful people, and over-priced French food. Imagine the Croisette, the main street in Cannes that borders the coast, as Kalakaua Ave. and Cannes itself as an amalgam of Waikiki and Miami’s South Beach. It’s a good model for a film festival. Pusan Film Festival, in October, takes place in a similar environment, Haeundae Beach, in the bustling southern port town.

For twelve days, Cannes becomes the center of the film universe, and it is a great way to meet up with film sellers, filmmakers, buyers, from all over the world. I’ve got my long laundry list of films I want to show for the upcoming 30th HIFF. It will be a long, arduous process in trying to secure my A list of films and find films that fit with planned sidebars and new partnerships that will make this upcoming HIFF truly special. Capturing that glint of Cannes is always a good thing, as we move forward through the summer to program an eclectic and interesting program for our film hungry audiences.

If it ain’t broke, don’t fix it. And what we do well at HIFF, we’ll continue to do. But, we’ve got some interesting and new things coming up. Hopefully, they’ll all work as we look onward for the next 30 years.

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