9/11/2023 0 Comments Stripes film production company![]() ![]() RELATED: Cannes Film Festival 2023 In Photos Thai auteur Apichatpong Weerasethakul won the Cannes Palme d’Or in 2010 with Uncle Boonmee Who Can Recall His Past Lives, and other Southeast Asian filmmakers, including Brillante Mendoza, Lav Diaz, Rithy Panh and Tran Anh Hung, have regularly appeared on the Croisette (Tran is back this year with French film La Passion De Dodin Bouffant).īut these are all well-known international filmmaker “brands,” while the Southeast Asian directors at Cannes this year are mostly newcomers, with the exception of Singapore’s Chen, who is shepherding a new generation through his Singapore production outfit. In the past, Southeast Asian cinema has been noticeable at A-list festivals but hasn’t had the same kind of profile as cinema from say South Korea, Japan or China. It’s a new wave of thoughtful and perceptive filmmakers accompanied by producers who have garnered experience in co-productions and engaging with the international marketplace.” “This is evident in the films coming through at major festivals in the past couple of years. ![]() “What we’re witnessing now is a maturity of filmmaking in the Southeast Asian region, not just in thought, but also craft and production values,” Chen tells Deadline. RELATED: Cannes Film Festival Full Coverage He is also producing an ambitious slate of Southeast Asian and international films through his Singapore-based Giraffe Pictures. Singaporean director Anthony Chen – who won the Camera d’Or in 2013 for his debut Ilo Ilo – is back in Cannes with a mainland Chinese production The Breaking Ice, which is premiering in Un Certain Regard this weekend. Conversely, we wanted to convey a distance to the adults, so scenes like the classroom and assembly felt slightly more rigid,” Eu continues.French Distributor Of Catherine Corsini's 'Homecoming' Lashes Out At Local Media Over Coverage Of Misconduct Allegations “I wanted to match the camera movement with the energy of the girls, so many scenes were shot via handheld or tracking. The production integrated as many camera styles as possible: handheld, tracking, dollies, pans, and fixed shots. Varying camera movements were also helpful in capturing the look of the film. A close-up of a bucket and Zaffan’s hand-washing movements take us between two different lighting states-one more naturalistic and another totally unreal.” Although the doorway is lit with natural daylight from a diffused M18, the turquoise neon light tints Mouna’s face in a way that could never be possible in the real world. Zaffan’s mother, Mouna, is wearing a cyan blue factory uniform, while the turquoise green now comes from inside the bathroom. ![]() Here, the background walls of the Surau (Islamic assembly building) are painted a saturated green turquoise while Farah is wearing a cyan blue prefect’s uniform. We lit the scene with natural light and large diffusion frames.” The cinematographer continues: “In the following scene, we are met with the same colors. Gimferrer reveals: “The first is a tense scene involving Zaffan and her best friend, Farah. This dichotomy is subtly shown in two consecutive scenes that vividly express Zaffan's loneliness and rejection. For instance, they sought a more natural yet extraordinary aesthetic for the exteriors. When depicting the girls as they are sheltered from the adult world, the two filmmakers were unafraid to experiment and push creative boundaries. DP Jimmy Gimferrer shooting with the AMIRA on setĮu and Gimferrer aimed to convey this intricate concept from script to screen using diverse techniques. ![]()
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