For one week in May, the sixth annual edition of the Terracotta Festival saw a selection of films from the Far East brought to audiences in central London. The main strand was devoted to 13 of the latest ‘must-see’ releases from across Asia, while there was also a spotlight on cinema in the Philippines, and of course the infamous Terror-Cotta Horror All-Nighter, which took place at the equally notorious Prince Charles Cinema. Below, we take a look at some of the highlights from the festival.
The Snow White Murder Case (Yoshihiro Nakamura, 2014)
Following the success of Tetsuya Nakashima’s Confessions (2010) and Kiyoshi Kurosawa’s superb Penance (2012) comes The Snow White Murder Case, the latest adaptation of a Kanae Minato bestseller. When a beautiful, popular employee at the Snow White soap company is found stabbed to death, with her corpse set on fire, local TV station worker Akahoshi (Gô Ayano) begins using social media to carry out his own investigation into the crime. As he homes in on one of the victim’s co-workers, Miki Shirono (Mao Inoue), a shy woman who has since disappeared, the amateur sleuth uncovers a series of suggestive events from her past, while TV news begins picking up the bait he’s left on his blog. Like Confessions, The Snow White Murder Case explores the circumstances surrounding the crime and its aftermath, as the combination of lies, half-truths, malicious gossip and outright hatred – fuelled by Akahoshi’s ambition – convicts the missing woman before she’s even been located by the police. Less cynical and grim than Confessions, The Snow White Murder Case is a dryly humorous film that works well as both a complex and compelling murder mystery, and as an indictment of the damage that gossip and malice can cause when combined with increasingly intrusive media networks and social media. It might not be as effective as Confessions or Penance, but it’s another respectable Kanae Minato adaptation.
Watch the trailer for The Snow White Murder Case:
Lesson of Evil (Takashi Miike, 2012)
Takashi Miike’s Lesson of Evil (a.k.a. Lesson of the Evil) has attracted comparisons with Confessions, mainly because it deals with violence in a school setting. Unlike Nakashima’s film, Lesson of Evil is a black comedy, and an extremely violent one too.
Instead of exploring the causes or effects of violence, Miike lets us watch as teacher Seiji Hasumi – a handsome, manipulative sociopath – sees his plans and schemes go increasingly awry, forcing him to resort to ever more violent and excessive ways of dealing with the problem. Hideaki Itô makes for a convincing, even likeable monster, and the skilled Miike throws in a few bizarre touches (including some distinctly Cronenberg-esque elements) that recall his earlier films. Unfortunately, at 130 minutes, Lesson of Evil is also far too long, taking more than 90 minutes to get to its blood-drenched conclusion, losing much of the impetus built up in the first hour. The film’s final acts are certainly memorable, but would have worked better in a drastically reduced running time. Although it’s already played at a few festivals, the extreme levels of violence inflicted upon children (by a teacher, no less) will probably make Lesson of Evil a hard sell in some territories.
Watch the trailer for Lesson of Evil:
The Face Reader (Jae-rim Han, 2013)
The latest in a steady stream of sumptuous, well-mounted South Korean period dramas, The Face Reader stars Kang-ho Song (Memories of Murder) as Nae-kyung, a dissolute wretch from a disgraced family, who possesses one valuable skill: as a ‘face reader’, he can assess a person’s character from their facial features. He’s extremely good at it, which attracts the attention of a local brothel keeper who holds ‘face reading’ consultations alongside her more traditional services. After Nae-kyung correctly identifies a murderer, his fame grows even further, and before long local politicians and bureaucrats are using his abilities to weed out lazy or corrupt officials from their departments. Soon, Nae-kyung becomes a well-known figure at court, but hasn’t completely understood just how dangerous his new status could be. As always, Kang-ho Song gives an easy, believable performance as the well-meaning but foolish character stumbling further out of his depth with every step. Production values are incredible and the whole film is a meticulous, attractive recreation of 15th-century Korea, boosted by another excellent score from Lee Byung-woo (A Tale of Two Sisters, Untold Scandal).
Watch the trailer for The Face Reader:
TikTik: The Aswang Chronicles (Erik Matti, 2012)
Playing out like a Pinoy version of Dog Soldiers, this energetic Philippine horror film stars Dingdong Dantes as cocky young man Makoy. When his heavily pregnant girlfriend Sonia (Lovi Poe) returns to her distant home village after a fight, Makoy follows to try and patch things up. An impromptu banquet goes awry when the inhabitants of the next village turn up, only they’re actually aswang, a kind of shape-changing demon very similar to werewolves. Trapped in their cluttered house, Makoy and the family try and fight off the aswang, while taking care of Sonia, who goes into labour at a most inconvenient time. Shot on limited sets and augmented by extensive green-screen work, TikTik is a surprisingly good-looking film, given a budget considerably smaller than similar Hollywood movies. Director Erik Matti keeps things moving consistently and makes good use of split-screen effects, but relies mainly on an engaging cast and decent dialogue. While it’s not particularly original, TikTik is well made and memorable enough to please horror fans worldwide.
Watch the trailer for TikTik: