Bright Shadow Films » Sound studio china

CFPC’s project is on theatrical release

admin — Thu, 11 Mar 2010 08:49:07 +0000

Directed by China’s young director Yang Shupeng, THE ROBBER, whose leading actors include Hu Jun and Jiang Wu, has been on theatrical release since Nov 20th, 2009.

THE ROBBER is one of the films going public screening among the projects of SIFF’s China Film Pitch and Catch. It is Yang’s second feature film after his maiden work THE COLD FLAME.

Since its debut in CFPC of SIFF 2007, THE ROBBER has been considered as market promising and won CFPC’s award for Most Promising Project to Invest. It was well evaluated by investors and received collaboration intentions from international distributors including AVIX of Japan when it started to shoot.

In addition to THE ROBBER, other CFPC’s projects such as ONCE UPON A TIME IN TIBET by DAI Wei and THE LAST RAINSTORM by Leste Chen are now almost finished and scheduled for theatrical release the coming year.

SIFF’s CFPC serves as a bridge for the connection between film projects and investors, the place in which the young film makes can benefit from the concept of investors as well as their insight to the market. This helps young film makers better understand the market and enlarge the possibility for their project’s success.

The China Film Pitch and Catch is one of SIFF’s efforts to explore, support and promote the young. During the past few years, SIFF integrated its resource to be an effective system consisting of pitching, co-production and competition. The China’s annual leading festival hopes these efforts could encourage directors’ brave innovation and practice in arts while at the same time provide them the chance for their development worldwide. Wanma Caidan, SIFF’s best director of Asian New Talent Award 2006 for his THE SILENT HOLY STONES, brought his project ON THE ROAD TO LHASA to CFPC. His latest THE SEARCH competed for the grand Jin Jue Award of SIFF and is selected by the jury panel head by Danny Boyle as the winner of Jury Grand Prix. It’s now going for the theatrical screening in France by the end this year.

Either Yang Shupeng or Wanma Caidan, or THE ROBBER or THE SEARCH, it’s just a start. The young generation of China’s Film Industry grows fast and shows their talent to the world. The Shanghai International Film Festival will continue to set up a international stage for them.

The 13th Shanghai International Film Festival is due to start on June 12, 2010.

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Application materials for a Sino-foreign co-production

admin — Fri, 11 Dec 2009 06:55:45 +0000

The following application materials are required for all modes of Sino-foreign co-production except stated otherwise.

Approval of co-production project

Application memorandum prepared by the Chinese party, stating among others Chinese and English names of the parties to the co-production, contact details of the parties, film title, brief description of the film, brief introduction to the main cast, production schedule and filming location;

Certificate of Incorporation (photocopy) and bank reference letter of the foreign party (original);

Introduction to the foreign party’s business activities and history in film production, as appropriate;

Synopsis in Chinese;
5 sets of the screenplay in Chinese;
Letter of intent or co-production agreement between the parties (photocopy);
Name, citizenship, brief resume and role of the principal cast;
Name, citizenship and brief resume of principal crew, namely director, screenwriter, director of photography and art director.

Approval of completed film

Completed film embodied in tapes or discs;
Confirmation letter stating the actual investment made by the respective parties (not required for assisted production);
6 stills in electronic, discs or printed form.

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What is a Sino-foreign co-production?

admin — Fri, 11 Dec 2009 06:46:15 +0000

Nature.

A Sino-foreign co-production, simply put, is a contractual arrangement between a foreign party and a Chinese party to conduct filming in China. There may be multiple parties on each side, provided that the Chinese party/parties must be production entity/entities accredited by the State Administration of Radio, Film and Television (SARFT) (for details, see “Structuring a Sino-foreign co-production”). For purposes of Sino-foreign co-production, investors or producers from the Hong Kong and Macao Special Administration Regions and the territory of Taiwan are considered as overseas parties.

Relationship of the parties.

The parties to a Sino-foreign co-production organize and conduct affairs of the co-production, including division of rights and obligations, in accordance with the co-production agreement entered into between them. The parties do not set up a separate entity for purposes of the co-production.

Approval.

All Sino-foreign co-productions must obtain the approval granted by the SARFT before any filming activity commences, and when the film is completed (that is, the censorship approval). Every co-production project can only be directed at producing and shooting one film, and a separate application is required for each project. The approvals are granted on a case-by-case basis depending on the relevant authority’s review of, among other things, the screenplay and the completed film. The regulatory regime captures all film genres and all formats in which filming will be conducted.

Governing authority.

The governing authority for Sino-foreign co-production is the SARFT, in particular, the Film Bureau of the SARFT. Nevertheless, the SARFT has appointed China Film Co-production Corporation (CFCC) as its sole agent to assist in managing and coordinating the applications, conducting preliminary review of the screenplay and completed film, and other logistical matters relating to Sino-foreign co-productions.

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The Insider’s Guide to Shooting in China

admin — Mon, 07 Dec 2009 10:04:00 +0000

This article is originally from here

Photographers are heading to China in droves right now, whether for the coming Olympics in Beijing (August 8-24), to cover the aftermath of the tragic May 12 earthquake in Sichuan province — or just to shoot stock: China’s ferocious growth and rapidly changing economy have made it a perennially hot news property.

“It’s an unusual time of openness in China, which is traditionally a xenophobic country, thanks to the Olympics and the earthquake, ” says Jeff Greenwald, executive director of Ethical Traveler , a project of the Earth Island Institute. “That openness is a two-way street. People traveling to China, particularly Americans, can try to counteract some of the negative images that China has of us from its media.”

But this is a very politically sensitive country. Attempting to shoot certain subjects—anything to do with say, Tibet, religion, state executions, and disease—can get you in trouble with the authorities. Along with Greenwald, PDNOnline talked to ten photographers who have shot in mainland China to get their tips for those new to the country. Several living in or frequently working in China spoke on the condition of anonymity. Those who spoke to us on the record are:

Monte Isom, a commercial photographer who specializes in portraits of athletes
Catherine Karnow, photographer behind National Geographic Traveler: Beijing
Wayne Liu, a Taiwan-born fine-arts shooter
Mads Nissen, a freelance photojournalist based in Shanghai
Sara Remington, a food and travel photographer
James Whitlow Delano, a Tokyo-based photographer with Redux Pictures and author of Empire: Impressions from China

BEFORE YOU GO

Vaccines: Many photographers recommended getting the Hepatitis B vaccine.
The Centers for Disease Control has a Web site for China with a full health briefing.

Visas: Note that your passport has to be valid for at least six more months. The visa situation has changed several times in the past few months. Check the Chinese Embassy’s Web site for the most up-to-date requirements.

Everyone had an opinion on getting a tourist or business visa versus an official journalist visa:

“We went in on a tourist visa to shoot a wedding and pick up stock. The photographer I went with and I had four camera bodies and 10 lenses. But she and I purposefully made ourselves look younger and separated ourselves.”—Remington

“When I was freelancing, I was on a business visa because I wanted to stay completely off the radar. Now, I am staff and on a J-1 (resident journalist) visa, as it is required by my company. There are benefits to being unregistered and registered. Unregistered allows more freedom to move and work on sensitive stories, but you run the risk of being deported, arrested, or having your contacts get arrested. Being registered allows you to do official events and work openly, but it is restricted. Registered journalists are not allowed to visit Tibet unless invited, and the invitation is difficult to obtain.”—Photojournalist based in China

“It depends on how much you have to lose. If you were going to come and shoot a big production with a lot of lights and models, you kind of need to get a proper visa. The police can close your operation down in a second.”—Beijing-based documentary photographer

“The business visa situation was changing constantly this year. Even my local Chinese producer couldn’t get it all put together. We needed a letter of invitation from the company hiring me, proof the airfare was confirmed and booked, hotel confirmed and booked, two passport photos, a letter from me to my assistants saying I was hiring them and they needed a visa, and an official invitation from the correct department. And that’s for one month. For a multiple-entry visa you need to prove why you need to come in and out.”–Isom

SHOOTING

Street/stock photography:

“The first thing to remember about China is that it’s not just one ethnic group. You can’t make assumptions about how people will feel about having their photo taken, or the courtesies involved. People in Beijing on the street might be OK with you shooting without asking, but Muslim Chinese people in the southern regions might react every differently.”— Greenwald

“As a woman, you just look a lot less threatening. Sometimes I wear little open-toed sandal with a pedicure. I wanted to shoot this massive demolition scene from above. There was a hotel nearby overlooking it, but there is no way in China you can just go up to the manager and explain you’re shooting for a National Geographic guidebook and get permission. I pretended I was checking in, looked at several rooms, and then I ended up sneaking in through the kitchen and shooting from the fire escape. I stuck my camera in my nice big Coach purse.”—Karnow

Photojournalism and sensitive topics

“Sometimes the political situation is dominant (anti-NATO riots 1999, the annual party congress), and sometimes it fades. But during the Olympics you can be sure it will be forefront. It’s not like there are cops everywhere telling you not to shoot, but subjects might get touchy about mildest things during times of political stress. Be subtle and act innocent. —Documentary photographer

“There is a saying in China that it is easier to ask forgiveness than for permission (read: access). Act first, and chances are if you are mild mannered, good natured, and wear a smile, even authorities will forgive a photograph of a bridge, soldier, or some other moderately sensitive subject in this often loosely controlled one-party state.”—Whitlow Delano

Commercial photography

“Chinese clients typically do not pay the agency and have them pay you. If they did, it would cost them about 12-15 percent more because of invoice taxes etc. So the client pays you directly—except the client does not want to pay anyone outside of China because that incurs a 15 percent tax; there is a loophole in Hong Kong. So the best way to go about doing a job there is to find a local production, hire them to produce your job, and then they pay you. They will charge a premium, but it makes the Chinese company more willing to hire you. Also, negotiating with Chinese clients is much different than in the United States. They want a deal. Doesn’t matter where the starting price was, they want it to be lower. “—Isom

LOGISTICS

“Skype is great for calling back home. With an unlocked cell phone, you can get a local SIM card, put $50 on it, and SMS back and forth to your local clients and back to the States. People in China text a lot and won’t like paying international fees to text you while you’re just across the city.”—Isom

“For those of us who are accustomed to uploading and downloading via FTP, you will realize as soon as you get to China that FTP speeds are nowhere near where it once was.”—from Nissen’s handy posting on
Lightstalkers.org for using the Internet in China

“It’s easy to find cheap hostels; I used Lonely Planet. Don’t pay until you see the rooms. They might be sketchy, dirty, rat infested. I felt safe leaving my film and extra camera equipment in the hostels I stayed in.”—Liu

“The bathroom situation is interesting for women. Pack your own toilet paper —and hand sanitizer is good, too.”—Remington

FOOD

“I basically eat what the locals eat. But if I’m doing a pollution story on, for example, in a ‘cancer-village,’ I’ll bring my own food or eat instant noodles, though it can be pretty boring for a whole week. “—Nissen

“I always have antibiotics on hand because my experiences is that one gets sick at 2 a.m. not 2 p.m.”—Delano

“The person I was traveling with was allergic to gluten, which was impossible to explain to people. So if you have food sensitivities, bring plenty of protein bars, almonds, etc.”—Remington

PEOPLE

“If you don’t speak Chinese, find a hip and friendly bilingual local assistant. It’s pretty easy to chat young people up, but older folks feel more comfortable with a local person talking to them. Avoid the scams where English-speaking ‘art students’ try to show you ‘their works’ that you buy because they are so friendly, or take you to a tea shop where each cup is practically $50.”—Documentary photographer

“A good guide, a good ‘fixer,’ is absolutely critical. Smart, tireless, their English has to be good but not necessarily great. When I am shooting portraits, for me to be able to coax the expressions and gestures out of people, I need almost simultaneous translation.”—Karnow

ETHICS

“Be aware that your actions when uncovering sensitive issues may bring heavy consequences upon people who can not leave the country. Do not post names, photograph faces of people who are quoted commenting on sensitive topics that are contrary to government policy. The story is not worth ruining a good person’s life. Period.”—Delano

“If I were covering a sensitive story I would hire a translator who is not a Chinese national—who has a foreign passport, but who speaks Chinese fluently. I would try not to use a minority, like a Tibetan, to work on these issues. Because they’re already in a politically sensitive situation. As the photographer I do what I can do to protect the people I work with and who I photograph, but in the end it’s a really messed-up situation.”—Beijing-based documentary photographer

Freelance writer Bonnie Azab Powell lives in Oakland with her husband, portrait photographer Bart Nagel . She would like to go to China someday — but maybe after the Olympics.

http://www.pdnonline.com/pdn/esearch/article_display.jsp?vnu_content_id=1003815876

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The People of Republic Desire Update-20090925

admin — Fri, 25 Sep 2009 05:29:48 +0000

Hey Guys, here is a quick update about our film “The people of Republic desire”

We are currently working on the audition, finalize the big roles in the film, it’s going quite well and we are hoping to finish everything soon, but we are also searching for the small role cast, if you have a Chinese face with fluent English, feel free to send us your bio with previous work, we would love to send you some info regarding the audition.

Crew: Same as the casting, we are finalize the main crew member these days, if you willing to join the production, here are the available position:

Intern: For both pre-prod and prod

Assistant for different department: Art, Location, Equipment, Logistic, Talent Management, etc

prdthemovie@brightshadowfilms.com

Pic From here

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People’s Republic of Desire

admin — Wed, 16 Sep 2009 09:34:52 +0000

The People’s Republic of Desire hits Shanghai

Local film production company Bright Shadow Films is preparing to start filming on their debut feature-length film, The People’s Republic of Desire, an adaptation of Annie Wang’s 2006 novel. The shoot is scheduled for the middle of next month.

The novel has been dubbed a “Sex in the City for Chinese women” – centering on four female friends, just as in the TV show. “It’s about single women and love, but that’s not the only thing,” says Lucy Brydon, who co-wrote the script with Jenny Hammond. “It’s not quite so directly about romance – the book has a lot to offer in terms of Chinese culture as well.”

Although the original story is set in modern day Beijing, the film adaptation will be set in Shanghai. “Shanghai’s just a sexier city, no offense to Beijing,” Brydon says with a laugh. Author Wang was on hand during the adaptation process, and has given her approval of the treatment. “[Wang] kept tabs, but she didn’t have any strict guidelines. She’s a ball of energy – very smart, very cool,” says Brydon, also mentioning the challenge of adapting the book, which was originally comprised of columns, into a cohesive film narrative. “We basically started by taking all the dialogue and went from there,” she says.

Bright Shadow’s managing director Charlie Moretti, who will also act as the film’s producer, reveals – without giving too much away – that the film will be shot on location, all over the city, including scenes at “the Hyatt, 1933, Chinatown – all the famous landmarks that Shanghai residents will recognize.” The shoot will last six weeks, he says, beginning at the end of September and lasting through the fall.

Already attached to the project is UK actor Andrew Lincoln, who has previously appeared in 2003’s Love, Actually (which Moretti likens to PRD), Scenes of a Sexual Nature and numerous British TV shows. “It’s an ensemble piece – but Andrew is our male lead,” says Moretti, highlighting that the production will involve over 30 crew members. Also confirmed for the project is director Alexei Berteig and director of photography Mark Pugh. Bright Shadow is currently working to confirm several additional actors, including the film’s four female leads, who will be of Chinese descent.

The film will be shot in English, although Moretti confirms that there will be dubbing for a domestic Chinese release. Bright Shadow has big hopes for the film, with a multi-million RMB budget and plans for an international release. “We’re aiming for April 2010,” says Moretti. “[Coinciding with the Expo] is part of the point, but realistically, we always knew it would be in the second quarter April, and we want to release it as early as possible to get as many viewers as possible.”

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The Shanghai Film Festival 2009 Market Session is Finished

admin — Wed, 17 Jun 2009 08:44:49 +0000

Hello Everyone, it was nice to meet everybody during the Shanghai Film Festival 2009, the market session is coming to an end, but our manager Charlie Moretti still busy with meeting up old contacts and new friends. Did we mention that we met Halle Berry?

We need to thank all the visitors who been to our booth during previous days, this year’s festival is bigger than last year, and we managed to meet a lot more people than before, we hope that you found the opportunity during the film market as well, just in case you missed our booth, here is a picture of it.

We will have a lot more info updated these days, stay around!

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Suggestions for Fresh Film Directors

admin — Wed, 17 Jun 2009 06:25:23 +0000

This Post Originally from here.

Yu Nan, one of the jury members for the Asian New Talent Award during the 12th Shanghai International Film Festival, had an exclusive interview with correspondent from Daily News yesterday. As a jury member, Yu Nan expressed her excitement to see so many spirited works, and she hoped these fresh film directors could stick to their own style, not to be distracted by material gain. Besides work, for the first time, Yu Nan replied to questions related to love in her real life and confessed that she was hoping for true love.

Yu Nan has already had some experience of being a jury member on International Film Festival overseas ahead of the 12th Shanghai International Film Festival, but she told the reporter that this time she felt very familiar and a sense of achievement. “I feel honored, because to be a jury member means that people already recognized my acting; and I feel very familiar, because I can speak native language to communicate with people and meet so many old friends. The get-togethers are most exciting.”
As for the evaluating criteria to this Asian New Talent Award, Yu Nan laughed and continued, “Each jury member has his own taste, but we will get together and discuss over it. The exchanges of ideas are valuable.” Yu Nan indicated that she had viewed four pieces of works so far to compete for the award, among them two were very impressive. However, being a jury member, she declined to reveal those names. She went on to comment, “I am so glad to see vitality and creativity all over these works, and each piece of work has its own style. I hope these fresh film directors could stick to their own style and not to be lead by material gain, including the awards. I firmly believe these film directors are the promising ones on international film festivals in the future.” As for the debate on “art or business” by Wang Xiaoshuai and Lu Chuan during the forum the day before, Yu Nan smiled and said, “maybe different directors have different perspectives towards films. But from my point of view, whether it’s business film or art film, the key lies in its good quality.”

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China boxoffice keeps climbing

admin — Wed, 03 Jun 2009 05:29:15 +0000

Fifth straight year of growth for Chinese exhibitors

By Jonathan Landreth and Frank Segers

June 2, 2009, 08:56 AM ET

You can find the original link here.

BEIJING — Moviegoing is getting to be a habit with the Chinese — and Hollywood is clearly taking a closer look.

China produced 406 feature films in 2008 and saw its boxoffice jump 30%, the fifth consecutive year of more than 25% growth.

In its annual report on the nation’s media industry progress, the State Administration of Radio Film and Television said overall 2008 boxoffice receipts reached 4.3 billion yuan ($635 million), led by such companies as the state-run China Film Group, Huayi Brothers Pictures, the Shanghai Film Group and the New Picture Co.

Hollywood too is becoming more bullish about prospects in that country of 1.5 billion potential moviegoers — despite still stringent regs and many restrictions on rentals.

“It’s a fantastic market full of people who love movies,” said Mark Zucker, president of Sony Pictures Releasing International.

He pointed to the optimism his studio feels toward the June 9 China opening of action title “Terminator Salvation” on 1,200 screens and the release later this summer of director Tony Scott’s “The Taking of Pelham 1 2 3″ with Denzel Washington and John Travolta.

Securing a play date in itself is something of a coup for a Hollywood major given the market’s strict import restrictions. Despite these, “China is a territory of increasing significance,” added David Kornblum, Disney vp international theatrical sales and distribution.

Five years ago, China was off the radar as a significant boxoffice revenue source for studio features. Now it ranks among the world’s top 25 largest boxoffice hauls for the big six — Warners, Disney, Paramount, Fox, Universal and Sony.

According to the MPA, the studios extracted from China $25 million in theatrical rentals out of boxoffice grosses of $194 million in 2007. In other words, the China market still has one of the lowest rations of rentals to grosses of any foreign territory — roughly 13 cents of each dollar spent for a ticket is returned to the U.S. distrbutor as rental revenue.

Still, five years earlier, the rental figure was just $7.9 million. In short, the market has more than tripled for Hollywood studio films.

As impressive is China’s enthusiastic embrace of digitalization. The market has the second largest number of 3-D screens overseas, after the U.K. — which is by far the largest international feature territory for the Hollywood studios.

China now has 209 3-D situations (the U.S. has about 1,560). This means that China is a growing source of studio boxoffice distributors of films in 3-D.

Kornblum noted that Disney’s “Bolt” last year generated $6.7 million in grosses exclusively from 3-D situations in China.

Although data shows that China’s newly built urban multiplex theaters filled faster than ever before, the final 2008 tally was lower than industry estimates of 4.6 billion yuan.

Leading the way was “If You Are the One,” director Feng Xiaogang’s comedy about a middle-aged man’s hunt for love, which raked in $47.6 million. Starring Ge You, the film beat out Hong Kong- and Hollywood-based John Woo’s war epic “Red Cliff,” which ranked second with $46.9 million.

SARFT said that despite the popularity of imported films like “Kung Fu Panda” and the Bond films (seen in a booming business for pirated DVDs and illegal downloads), domestic movies took the lion’s share of theatrical boxoffice sales. One reason is that SARFT limits screenings of imports to 20 a year — a practice that is a centerpiece of an ongoing U.S. lawsuit against China in the World Trade Organization.

Of the 10 highest-grossing films in China in 2008, seven were homegrown or made as co-productions with a Chinese partner.

After Feng’s and Woo’s films, the homegrown hits were “Painted Skin” ($34 million), Steven Chow’s “CJ7″ ($29 million) and the Jackie Chan-Jet Li starrer “The Forbidden Kingdom” ($27.5 million).

Imports “Kung Fu Panda” and “Quantum of Solace” followed, ranked sixth and seventh, respectively. They were followed by the domestic productions “Kung Fu Dunk” and “Forever Enthralled,” with the import “The Mummy: Tomb of the Dragon Emperor” rounding out the list.

On the exhibition side, China’s 36 theater chains, led by firms like Beijing-based Wanda Cinemas, built 118 multiplexes in 2008, raising the nationwide total to 1,545, up 8% year-over-year.

China has 4,097 screens, SARFT said, up 16% from 2007. The report acknowledged that moviegoing was slower in China’s second- and third-tier cities, which lag Shanghai, Guangzhou and Beijing, where the total boxoffice in 2008 hit $75 million in 2008, up 42% from 2007.

SARFT’s final 2008 boxoffice tally does not include discounted tickets sold in China’s ongoing government-subsidized program to screen films for rural communities and factory workers.

China remains the third most-prolific filmmaking nation in the world after India and the U.S., but SARFT data shows that revenue from all Chinese films sold overseas added up to just $378 million in 2008. By comparison, “Iron Man” alone grossed $318 million worldwide in 2008, and it was Hollywood’s second-highest-grossing film of the year after “The Dark Knight.”

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International Jury For Jin Jue Award

admin — Mon, 01 Jun 2009 06:14:48 +0000

President:

Danny BOYLE (British director)

One of the UK’s finest directors, Danny Boyle has a wide array of critically acclaimed and commercially successful film credits: Shallow Grave, Trainspotting, A Life Less Ordinary, The Beach, Alien Love Triangle, 28 Days Later, Millions and Sunshine. Slumdog Millionaire is his eighth international theatrically-released film and it won 8 Academy Awards, including Best Picture and Best Director in 2009.

Members:

HUANG Jianxin (Chinese director)

Huang Jianxin, Chairman of the Beijing Film Director Association, has won awards at international film festivals in Shanghai, Tokyo, Fukuoka, and Rotterdam. He has been honoured by inclusion in the “Top 10 Chinese Language Film” category at the Hong Kong International Film Festival three times. His productions Black Cannon Incident and Back to Back, Face to Face have made Asia Week magazine’s list of the “Top 100 Chinese Films in the 20th Century”. In 2005, Gimme Kudos won the Jury Grand Prix and Best Screenplay at the 8th Shanghai International Film Festival. Huang has been a jury member at many film competitions and festival events, such as China’s 12th and 26th Golden Rooster Awards; 11th Fukuoka International Film Festival; and 25th Cairo International Film Festival. He was jury president in the 11th Pyongyang International Film Festival.

Xavier KOLLER (Swiss director)

Xavier Koller is a member of the Executive Board of the Foreign Language Film Committee of the Academy of Motion Pictures, Arts & Sciences, LA. His work Gripsholm was honoured with the Prix C.I.C.A.E (Confederation des Cinémas d’Arts et d’Essai Européan) and represented Switzerland to compete in the Academy Awards. Journey of Hope received the Academy Award for Best Foreign Language Film in 1991, and the Leopard at the Film Festival Locarno. Tanner – The Rebellion was granted the National Award of the Ministry of Culture, the FIPRESCI Award at the Montreal Film Festival, and represented Switzerland at the Academy Awards in 1986. The Frozen Heart won the National Award of the Ministry of Culture, Movie of the Year, and was the biggest grossing Swiss film of 1980.

Komaki KURIHARA (Japanese actress)

Komaki Kurihara graduated from Tokyo Ballet School when she was 18. After that she started her career as an actress. She soon got the chance to play a role in her first television drama Niji no Sekkei. Through the television dramas Sanshimai, Sannin Kazoku, Mitsume Itari, and Furinkazan, in which she played leading roles, she began to win awards in Japan. From the 1970s Kurihara focused more on feature films. Endless Love (Ai to Shi), The Long Darkness (Shinobugawa), Sandakan No. 8 (Sandakan Hachibanshokan Bohkyo), Moscow, My Love (Mosukuwa Wagaai), and Kosodate Gokko were her main works of that period. Among the 5 films, The Long Darkness won her several prizes including the Golden Arrow Award, the Mainichi Film Award, and the Air France Award. Kurihara has been a judge at the Moscow International Film Festival and the Tokyo International Film Festival, as well as President of Judge Board of Russia’s Khanti-Mansiysk Film Festival.

Andrew Wai Keung LAU (Hong Kong producer, director, cinematographer)

Andrew Lau stared his career in the film industry with the Shaw Brothers Studio as an assistant cinematographer. With his dedication and hard work, he was promoted to Cinematographer in 1985. He is extremely skilful in handling hand-held cameras for live-action scenes. His talents are exhibited in such films as Fallen Angels, As Tears Go By, Six Million Dollar Man and Return to a Better Tomorrow. Lau began directing films in 1991. In 1995, he directed the sequel to Young and Dangerous which broke box-office records. Over the next three years, he directed 7 films in the Young and Dangerous series. In 2002, he has teamed with a group of experienced production specialists to work on his first blockbuster Infernal Affairs, which broke several records at the Hong Kong box office, and won seven awards at the 22nd Hong Kong Film Awards. Hollywood adapted Infernal Affairs as The Departed, which was very successful in film festivals in the United States.

Andie MACDOWELL (American actress)

Andie MacDowell has established herself as an accomplished actress in a career that is showing no signs of slowing down. Her undeniable charm and talent have gained her in worldwide recognition. She first received critical acclaim for her performance as a repressed young wife in Steven Soderbergh’s Sex, Lies and Videotape (1989). The film won the Palme d’or at Cannes, and garnered MacDowell the Independent Spirit Award and the Los Angeles Film Critics Award for Best Actress, as well as her first Golden Globe nomination. MacDowell earned the worldwide title of #1 female box-office draw with her performances in the smash hit romantic comedy Four Weddings and a Funeral for which she received a Golden Globe nomination, and the western Bad Girls with Drew Barrymore. She also starred in the holiday classic Groundhog Day. In other comedies MacDowell continued to partner with top leading men including Gérard Depardieu in Green Card, for which she again earned a Golden Globe nomination, Michael Keaton in Multiplicity, and John Travolta in Michael. Additional dramatic performances include The End of Violence, directed by Wim Wenders, which was selected to screen at the opening of the 50th Anniversary of the Cannes Film Festival; Robert Altman’s The Player and Short Cuts, for which the cast earned a special Golden Globe Award for Best Ensemble; Unstrung Heroes, directed by Diane Keaton; and the ever-popular St. Elmo’s Fire.

OH Jungwan (Korean producer)

OH Jungwan made her debut as a producer in 1998 and established her production company in 1999. Since then, she has focused on producing accomplished feature films with a unique style which challenges conventional ideas. These have been well-received by film critics and audiences in Korea and around the world. Her production An Affair won the Newport Beach International Film Festival and Fukuoka Asian Film Festival. The Foul King was selected at the Berlin International Film Festival Forum. Tears was selected at the Berlin International Film Festival Panorama. A Tale of Two Sisters was honoured at the Portugal Fantasporto Film Festival (Best Film/Director/Actress). The Uninvited was awarded at the Sitges International Film Festival (Citizen Cane Award-Best New Director). A Bittersweet Life was selected at the Cannes Film Festival. Woman on the Beach was selected for special presentation at the Toronto International Film Festival: Special presentation, and at the Berlin International Film Festival Panorama. Night and Day was nominated at the 58th Berlin International Film Festival Competition. My Dear Enemy was selected at the 59th Berlin International Film Festival Forum.

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