Source: Subway Cinema press releases Special Thanks to Grady Hendrix, Kristen Osborne, Gillian Osborne and Ted Geoghegan

NEW YORK ASIAN FILM FESTIVAL

Walter Reade Theatrer, Film Society of Lincoln Center (June 29 - July 12) Japan Society (July 12 - 15) The New York Asian Film Festival is back…with a vengeance! And this year we’re celebrating everything else that is back... with a vengeance, too! We’ve got “Warriors and Romantics: New Cinema from Taiwan” a look at Taiwan’s film industry which went from making 10 films a year and holding 2% of its domestic box office in the 90’s, to unleashing a wave of blockbusters like WARRIORS OF THE RAINBOW: SEEDIQ BALE and YOU ARE THE APPLE OF MY EYE that are currently sweeping Asia. Then there’s “Return of the King: Hong Kong Movies 15 Years After the Handover” which takes the temperature of the current Hong Kong film industry and discovers that rumors of its death have been greatly exagerrated. Science has proven that Asia is making the most awesome movies in history right now. Sure, Abraham Lincoln was a great president, but he had never even heard of BOXER`S OMEN so how good could he have been? The ancient Egyptians built the pyramids, but were they capable of making a movie as epic as WARRIORS OF THE RAINBOW: SEEDIQ BALE? We think not. You live in a time of plenty, when we can show brand new crazymakers like our Centerpiece Presentations, GUNS N’ROSES (Ning Hao’s latest movie, which he named after his favorite band just because he could) and DOOMSDAY BOOK (Kim Ji-Woon of I SAW THE DEVIL delivers a hard science fiction flick that serves up three different flavors of apocalypse). And we can unleash the bes t movies of the past, like The MIAMI CONNECTION, maybe the most unhinged ninja movie ever made, and GOKE, BODYSNATCHER FROM HELL, which will give you many uneasy nights to come. But the NYAFF isn’t just about movies, it’s also about people (awww...), and for two weeks we will be home to the best people on the planet. Donnie Yen, probably the biggest action star in the world right now, will be at the festival with his movies WU XIA, THE LOST BLADESMAN, and KILLZONE (aka SPL: SHA PO LANG). Japanese superstar Masami Nagasawa will be here with her new movie LOVE STRIKES! Mr. Vengeance himself, Choi Min-Sik, will be here with his latest epic, NAMELESS GANGSTER, as well as a retrospective that includes some of his best movies, like CRYING FIST, FAILAN, and, of course, OLDBOY. And don’t get us started on director Pang Ho-cheung, who’ll open the festival with his vulgar VULGARIA, or Michelle Chen and Giddens Ko, the star and director of the unstoppable YOU ARE THE APPLE OF MY EYE, or Chung Chang-Wha, the director of the kung fu movie that changed the world, FIVE FINGERS OF DEATH. But there’s another group of people who are more important than any of these celebrities: you, our audience. You’re not just our boss, you’re Donnie Yen’s boss, and Michelle Chen’s boss, and even Choi Min-Sik’s boss, too. (Okay, maybe not Choi Min-Sik’s boss; no one is Choi Min-Sik’s boss, but you get the point we’re trying to make here). This festival only exists because you keep coming back, and you keep bringing your friends, and you keep bringing your families, and in a strange, sick, co-dependent way you’ve become our family, too. You are like a party army, and every year you get bigger and more unstoppable and soon this puny planet shall be ours. You swore you’d be back... with a vengeance... and now our time has come. Summer is here, and the moment is ripe to take revenge on the puny movies that have infested cinema screens all year long. Ladies and gentlemen of the NYAFF audience... prepare to unleash hell!

WARRIORS AND ROMANTICS: THE NEW CINEMA FROM TAIWAN

Taiwanese films are back, but you may not have realized they were gone in the first place. Presented with the Taipei Economic and Cultural Office in New York, this is a story about the comeback of the Taiwanese film industry. Taiwan has always been a motion picture powerhouse, but in the late 80’s their domestic film production entered a death spiral. Local productions slowed but theater owners needed to fill their screens and so they turned to Hollywood instead. Import restrictions were lifted on American movies, and suddenly Taiwan was facing a strange situation. While their arthouse directors like Edward Yang, Tsai Ming-liang, Hou Hsiao-hsien, and Ang Lee were becoming global names, their local film industry was on life support. In some years, they produced as few as 10 domestic movies, and for almost a decade local films accounted for around 2% of the annual box office. That all changed in 2008 when a broke director named Wei Te-Sheng, who had worked various odd jobs in the film business, directed CAPE NO. 7. A romantic comedy about a failed musician who moved from Taipei back to his tiny hometown, it became a word of mouth sensation and is now the highest-grossing Taiwanese movie ever made. Newly invigorated, Taiwanese filmmakers grabbed their passion projects and raced for the big screen, powered by money contributed by suddenly confident investors. MONGA, an adrenalized, punch-drunk street gang film opened in 2010, holding the number one spot at the box office against James Cameron’s AVATA. In 2011, things got even better. That year, YOU ARE THE APPLE OF MY EYE, from first time director Giddens Ko, became a box office hit as well as the highest-grossing Mandarin-language movie ever released in Hong Kong (beating Stephen Chow’s KUNG FU HUSTLE), and became the most successful Taiwanese movie ever released in China, as well as having its theme song become one of the most ubiquitous ringtones across Asia. Time and again, young directors have held it up as an example of how to make a fresh romance that manages to pull the heartstrings without being cheap or sentimental. STARRY STARRY NIGHT became a critical success in 2011, awing audiences and racking up award nominations for its lush visuals, and JUMP ASHIN, based on the true story of a hard working gymnast who fights the odds to compete, became another local hit. Even bigger was Wei Te-Sheng’s project WARRIORS OF THE RAINBOW: SEEDIQ BALE, which was released as two massive movies and became a mammoth hit that revived interest in Taiwan’s indigenous peoples, and has shot new life into the tourism industry (as did Cape No. 7). It’s even been called “the Chinese AVATAR” and that’s not too far wrong. And now, in 2012, DIN TAO: LEADER OF THE PARADE, a low budget ultra-local movie that came from nowhere, has beaten everything at the box office, from international co-productions to Hollywood hits, and even more importantly it’s renewed interest in Din Tao, Taiwan’s local performance folkart. Today, Taiwan not only boasts some of the world’s finest arthouse directors, but it also has a thriving domestic film industry to match. It’s not back to where it was in the 1970’s -- yet -- but investors are willing to take a chance on local subjects, technical crews are sharpening their skills, and producers are finding that there’s an overseas audience for local subjects. Taiwanese cinema is back, no longer just ruling the arthouse, but also ruling the box office, and the world is all the richer for it.

RETURN OF THE KING: Hong Kong Movies 15 Years After the Handover

When Hong Kong returned to China in 1997, its film industry was already in a tailspin from the first stirrings of the Asian Economic Crisis. A few years later, the industry, once the biggest film producer in Asia, was declared dead. But while a lot of good people lost their jobs, reports of its death have been greatly exaggerated. Presented with the support of the Hong Kong Economic and Trade Office New York of the Hong Kong Special Administrative Region Government, “Return of the King” is our update on the health of the Hong Kong film industry 15 years after the handover, and as far as we’re concerned, it has retaken the crown as one of the top film producers in Asia. For the past few years, ultra-local Hong Kong movies like Ann Hui’s A SIMPLE LIFE and Pang Ho-cheung’s LOVE IN THE BUFF have been winning awards and fans around the world, while Hong Kong-Chinese co-productions like WU XIA, THE LOST BLADESMAN, and DETECTIVE DEE, usually helmed by Hong Kong directors and stars, are turning into international box office hits that are hoovering up the box office loot. To celebrate the return of Hong Kong to its rightful place on the throne, we’ve invited two men who represent both of these new trends in Hong Kong cinema. Director Pang Ho-cheung’s films are so grounded in hyper-specific local detail that you can’t imagine they’d ever play outside of the neighborhoods in which they were shot. His movies revolve around things like the 2007 Revised Public Health Ordinance that banned indoor smoking in Hong Kong, and the specifics of Category III film production. Yet they’ve traveled to international festivals, gotten bought for Hollywood remakes, and proved that local is the new global. On the other hand, no one represents the international Hong Kong blockbuster the way Donnie Yen does. A star and action choreographer, he has long traveled between Hong Kong, Japan, Hollywood, and China for his movies, and so it was no surprise that as Hong Kong films became more global, he would take the change in stride. His two IP MAN movies, both of them Hong Kong-China coproductions, have become massive hits across Asia, and his films like KILLZONE, WU XIA, and THE LOST BLADESMAN have played to enthusiastic crowds from Cannes and Canada, to Hong Kong and Beijing. The way that Jackie Chan and Chow Yun-fat used to be hired onto a film as guarantees that a Hong Kong film would have global appeal, Donnie Yen now takes on that role. His face is familiar all across Asia and, increasingly, around the world. And so 15 years after the handover, where are Hong Kong films? They’re different, no doubt. The local films have become more local than ever, with no more need to appeal to the once all-important Taiwanese and Malaysian audiences. But Hong Kong actors, directors, action choreographers, stuntmen, composers, cinematographers, and editors are still some of the best in Asia, and they now work in China, Hong Kong, Taiwan, Singapore, and Thailand, exporting Hong Kong’s distinctive style wherever they go. If you blow hard enough on a dandelion, you destroy the dandelion but you send its seeds sailing out across the world. Hong Kong is different now, but Hong Kong survives. And it grows. And now, it’s safe to say, that it is back. 15 years after the Handover, the King has returned.

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LINEUP

10+10 (Taiwan, 2012) Directors from Hou Hsiao-hsien to Wei Te-Sheng (Seediq Bale), recruit an army of stars like Shu Qi for these 10 short films about Taiwan. ACE ATTORNEY (Japan, 2012) Takashi Miike brings one of the world’s most popular Gameboy and Nintendo DS games to the big screen and it’s all about... lawyers? Prepare to have your mind blown by this mashup of THE PRACTICE and THE AVENGERS! ALL ABOUT MY WIFE (Korea, 2012) An all-star remake of an Argentinian romantic comedy, this blockbuster is about a husband too timid to ask for a divorce, so he hires a “boyfriend” to woo his wife away. ASURA (Japan, 2012) A lush animated feature about a child cannibal in famine-wracked feudal Japan whose taste for human flesh has turned him into a demon. Based on George Wakiyama’s banned manga. THE ATROCITY EXHIBITION (Japan, 2012) Three Japanese shorts, LET’S MAKE THE TEACHER HAVE A MISCARRIAGE CLUB, HENGE, which is a Japanese version of Kafka’s Metamorphosis, and BIG GUN an iron-punk gun-smithing action snapshot. BLOOD LETTER (Vietnam, 2012) From out of left field comes this Vietnamese martial arts move full of flying swordsmen, weapon-wielding woman warriors, and the kind of wu xia passion the world just has too little of. BLOODY FIGHT IN IRON-ROCK VALLEY (Korea, 2011) A tiny indie film that packs a punch! A lone stranger rides into a town ruled by an out-of-control construction cartel, ready to settle scores with two fists and one hooker in this ultra-cool, modern day spaghetti western. BOXER’S OMEN (Hong Kong, 1983) There is nothing else in the world like this black magic martial arts movie that looks like the last 10 minutes of 2001: A SPACE ODYSSEY if you replaced the flashing colors and swirling stars with writhing maggots and bright green pus. And then you made your actors eat it. COUPLES (Korea, 2011) A remake of the NYAFF hit, A STRANGER OF MINE, this time-looping, multiple-POV Korean romance is like every time you’ve ever fallen in love: it starts normally but winds up completely and totally unique. CRYING FIST (Korea, 2005) The director of CITY OF VIOLENCE and the star of OLDBOY team up for a boxing movie about two deadbeats who’ve hit bottom. Both need redemption, but there’s only one winner in a boxing match. A neglected classic of the new Korean cinema. Star Choi Min-Sik will attend the screening. DEAD BITE (Thailand, 2011) Like smoking a fat blunt on the beach, this hazy, crazy zombie flick is all blood, bikinis, B-boys, enthusiastic gore, and surreal humor. Directed by and starring Thailand’s one and only hip hop crew, Gancore Club. DIN TAO: LEADER OF THE PARADE (Taiwan, 2012) The biggest Taiwanese hit of 2012, it’s the true story of a Din Tao (drumming ritual) team assembled out of losers and misfits, who wound up revitalizing this lowly folk art. DOOMSDAY BOOK (Korea, 2012) The much-anticipated three-part science fiction anthology from Kim Ji-Woon (I SAW THE DEVIL) and Yim Pil-Sung (HANSEL & GRETEL). Robots! Meteors destroying the planet! Viral outbreaks! Centerpiece Presentation. EAST MEETS WEST 2011 (Hong Kong, 2011) Wong Kar-wai’s longtime collaborator, Jeff Lau, delivers an exhausting and exhilarating comedy about reincarnated superheroes (and failed pop stars) that includes musical numbers, animated sequences, giant battles, stupid jokes, and genuine heartbreak. FAILAN (Korea, 2001) Choi Min-Sik and Hong Kong superstar Cecilia Cheung are paired in this low key, heartfelt romance about missed opportunities. Star Choi Min-Sik will attend the screening. FIVE FINGERS OF DEATH (THE KING BOXER) (Hong Kong, 1972) Quite simply THE most influential martial arts movie of all time, it launched the kung fu craze in the West, paved the way for Bruce Lee, and is still a hard-hitting time at the grindhouse. Director Chung Chang-Wha will attend the screening. GOKE, BODY SNATCHER FROM HELL (Japan, 1968) Imagine a Mario Bava film, plus LOST, plus some of the wild horror psychedelia from festival fave HOUSE (Hausu). Mindbending retro madness. GOLDEN SLUMBERS (Cambodia, 2011) Obliterated by the Khmer Rouge in 1975, Cambodia`s lost cinema lives on in the memories of the filmmakers and stars who survived the genocide in this moving oral history. Director Davy Chou will attend the screening. GUNS N’ROSES (China, 2012) Ning Hao, China’s most adrenaline-charged director, delivers a bank heist black comedy after his last film was banned by the government. Centerpiece Presentation. GYO (Japan, 2012) Who would have thought the apocalypse would come in the form of bio-mechanical fart-propelled mutant zombie fish that spontaneously sprout spindly mechanical legs? Who else but the famed horror manga artist Junji Ito, the psycho genius behind such impossibly off-kilter creations as Tomie and Uzumaki? HARD ROMANTICKER (Japan, 2011) A totally amoral, viscerally thrilling version of BOYZ INTHE HOOD, this movie based on the director’s life is about Korean street gangs trying to survive in a Japan that hates them. HONEY PUPU (Taiwan, 2011) Critics around the world agree, this tale of a radio DJ looking for her lost boyfriend is like Richard Linklater’s SLACKER for the internet age. INFERNAL AFFAIRS 1 & 2 Tenth Anniversary (Hong Kong, 2002/2003) Martin Scorsese remade IA 1 as THE DEPARTED, but taken together these two movies are Asia’s richest, most complex crime epic. Screening preceded by a panel with the creators of the SLEEPING DOGS video game. KILLZONE (aka SPL: SHA PO LANG) (Hong Kong, 2005) This contemporary cop movie stars Sammo Hung, lightning fast Wu Jing, Simon Yam, and it turned Donnie Yen into a major star. Star and action choreographer Donnie Yen will attend the screening. THE KING OF PIGS (Korea, 2011) Fresh outta Cannes, this animated drama is about two adults trying to remember what exactly happened to them as kids when they attended a nightmarish high school. Director Yeun Sang-Ho will attend the screenings. KOREAN SHORT FILM MADNESS (Korea, 2011) Faturing a short film directed by Park Chan-Wook (OLDBOY) and his brother, as well as new shorts from Korea’s MSFF genre film festival. THE LOST BLADESMAN (Hong Kong, 2011) The writers of the INFERNAL AFFAIRS films wrote and directed this movie that tells the tale of China’s revered warrior, General Kwan. Star and action choreographer Donnie Yen will attend the screening. LOVE IN THE BUFF (Hong Kong, 2012) Pang Ho-cheung’s razor-sharp romantic comedy is the urban romance of the year. No familiarity with predecessor, LOVE IN A PUFF, required. LOVE STRIKES! (Japan, 2012) Based on a wildly successful manga and anime series, it’s all about an unassuming young man who suddenly hits one of those strange streaks when girls find him wildly appealing. Star Masami Nagasawa will attend the screenings. MAKE UP (Taiwan, 2011) A mortuary make-up artist discovers that the latest body on her slab is the closeted gay high school teacher she had an affair with years before. One part romance, one part psychological thriller. MIAMI CONNECTON (USA, 1987) Gonzo, 80’s exploitation madness on acid, it’s all about a rock band that does martial arts and the drug-smuggling ninjas they must defeat. MONSTERS CLUB (Japan, 2011) Sympathy for the Unabomber in Toshiaki Toyoda’s retelling of the Ted Kackyinzski story, only with added transsexual monsters and ghosts. Director Toshiaki Toyoda will attend the screening. NAMELESS GANGSTER (Korea, 2012) TIME Magazine compares this gangster epic favorably to Martin Scorsese’s GOODFELLAS and they’re not wrong. Set in the 80’s, Choi Min-Sik is a corrupt customs inspector making his grab for the bloody, brass ring of gangsterdom. Star Choi Min-Sik will attend the screening. NASI LEMAK 2.0 (Malaysia, 2011) A food movie, directed by a rapper who has been investigated for sedition, that feels like a delirious early Stephen Chow movie. How could we not show it? OLDBOY (Korea, 2003) It won the Jury Prize at Cannes, and Choi Min-Sik is iconic as the hammer-wielding Oh Dae-Su, trying to find who imprisoned him in a hotel room for 15 years. Star Choi Min-Sik will attend the screening. PANG HO-CHEUNG’S FIRST ATTEMPT (Hong Kong, 2012) Hong Kong’s hottest new director (VULGARIA, LOVE IN THE BUFF) screens movies he made in high school, cracking wise live, Mystery Science Theater-style. Director Pang Ho-cheung will, needless to say, attend the screening. POTECHI (CHIPS) (Japan, 2012) No one makes movies like Yoshihiro Nakamura (FISH STORY). We’re closing the NYAFF 2012 with his latest movie, POTECHI (CHIPS), about petty thieves, potato chips, and baseball stars. Closing Night Film. RED VACANCE, BLACK WEDDING (Korea, 2011) This two-part film about adultery, which shares a main character, is a sexy, funny, over-the-top exploration of why we cheat. SACRIFICE (China, 2010) Chen Kaige (FAREWELL MY CONCUBINE) employs an all-star cast in this searing drama about a doctor who must sacrifice his own son to protect the child of a disgraced court official. SCABBARD SAMURAI (Japan, 2011) From the director and star of SYMBOL comes this deadpan comedy about a disgraced samurai who has 30 days to make a dejected boy prince laugh, or he has to kill himself. SECRET LOVE (Korea, 2010) A beautifully shot, sultry and sexy Korean romance about a bride who falls for her husband’s twin brother. Star Yoon Jin-Seo will attend the screening. A SIMPLE LIFE (Hong Kong, 2011) Sweeping awards from Venice to Hong Kong, this film turns a compassionate, unblinking eye on aging and dying. If you don’t cry, you’re probably a robot. SMUGGLER (Japan, 2011) From one of the directors of FUNKY FOREST: THE FIRST CONTACT comes this tale of a criminal underground staffed by debt-ridden losers who can’t catch a break. Stylish and shocking. STARRY STARRY NIGHT (Taiwan, 2011) This Taiwanese hit is a visually inventive heartbreaker about a 13-year-old girl who hides in an imaginary world to escape the reality of her parent’s divorce. THE SWIFT KNIGHT (Hong Kong, 1971) Lifetime Achievement Award-winner, Chung Chang-Wha (FIVE FINGERS OF DEATH), counts this Shaw Brothers swordplay movie his favorite of his own movies. Director Chung Chang-Wha will attend the screening. THE SWORD IDENTITY (China, 2011) A refreshing remix of the traditional martial arts film directed by the screenwriter of Wong Kar-wai’s THE GRANDMASTER. TOKYO PLAYBOY CLUB (Japan, 2011) Katsutoshi (Nao Omori, star of ICHI THE KILLER) gets himself into serious trouble at his temp job in a garage when he kills an obnoxious, loudmouthed student with a monkey wrench. Just like him, the rest of the film smells oily and authentic, if you can take the murk and the grit. TORMENTED (Japan, 2011) Better known as RABBIT HORROR, this is not a horror movie. Instead it’s a trippy fairy tale tinged with a bit of J-horror and dripping with gothic atmosphere. VULGARIA (Hong Kong, 2012) Hilariously offensive comedy about making movies, Pang Ho-cheung’s ode to filmmaking makes BORAT look tame. Opening Night Film. Director Pang Ho-cheung will attend the screening. WAR OF THE ARROWS (Korea, 2011) Korea’s surprise blockbuster of 2011, this swashbuckling period action movie won 14 major film awards, and is a fist-pumping, retro version of Robin Hood. WARRIORS OF THE RAINBOW: SEEDIQ BALE 1 & 2 (Taiwan, 2011) Special Fourth of July screening of the uncut, two-part Taiwanese blockbuster that is that country’s BRAVEHEART. WU XIA (DRAGON) (Hong Kong/China, 2011) The word-of-mouth hit at Cannes last year, what CROUCHING TIGER, HIDDEN DRAGON did for swordplay, it does for kung fu. Star and action choreographer Donnie Yen will attend the screening. YOU ARE THE APPLE OF MY EYE (Taiwan, 2011) The biggest romantic hit of 2011, this bittersweet movie about the way nothing will ever top the first time you fall in love swept the box office across Asia. Director Giddens Ko and star Michelle Chen will attend the screenings. ZERO MAN VS THE HALF VIRGIN (Japan, 2012) From the writer of ICHI THE KILLER and GOZU comes this touching tale of a cop with the ability to see how many sexual partners you’ve had.

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NYAFF 2012 SCHEDULE

SCREENINGS AT THE WALTER READE THEATRE Friday, June 29 6:00PM WAR OF THE ARROWS (121min) 8:30PM VULGARIA (90min) + guest director Pang Ho-cheung 12:00AM BOXER’S OMEN (105min) Saturday, June 30 1:00PM OLDBOY (120min) + guest actor Choi Min-Sik and actress Yoon Jin-Seo 4:00PM PANG HO-CHEUNG’S FIRST ATTEMPT (50min) + guest director Pang Ho-cheung 5:30PM THE KING BOXER (FIVE FINGERS OF DEATH) (98min) + guest director Chung Chang-Wha 9:00PM NAMELESS GANGSTER (133min) + guest actor Choi Min-Sik 12:00AM GOKE, BODY SNATCHER FROM HELL (84min) Sunday, July 1 1:00PM THE SWORD IDENTITY (110min) 3:20PM THE SWIFT KNIGHT (81min) + guest director Chung Chang-Wha 6:00PM YOU ARE THE APPLE OF MY EYE (109min) + guest director Giddens Ko and actress Michelle Chen 8:45PM LOVE IN THE BUFF (106min) + guest director Pang Ho-cheung Monday, July 2 1:00PM MAKE UP (107min) 3:30PM FAILAN (116min) + guest actor Choi Min-sik 6:30PM YOU ARE THE APPLE OF MY EYE (109MIN) + guest director Giddens Ko and actress Michelle Chen 9:00PM CRYING FIST (134min) + guest actor Choi Min-Sik Tuesday, July 3 1:00PM NAMELESS GANGSTER (133min) 3:30PM STARRY STARRY NIGHT (99min) 6:00PM COUPLES (109min) 8:30PM SACRIFICE (126min) Wednesday, The Fourth of July! 1:00PM COUPLES (109min) 3:30PM EAST MEETS WEST 2011 (99min) 6:00PM SEEDIQ BALE I (143 min) + SEEDIQ BALE II (131min) [274min total] Thursday, July 5 1:30PM HONEY PUPU (102min) 4:00PM DIN TAO: LEADER OF THE PARADE (123min) 6:30PM 10 + 10 (114min) 9:00PM ALL ABOUT MY WIFE (120min) Friday, July 6 1:30PM ZERO MAN VS THE HALF VIRGIN (105min) 3:30PM SCABBARD SAMURAI (103min) 6:00PM INFERNAL AFFAIRS (101min) + guest actor Edison Chen, Will Yun Lee and Sleeping Dogs game creators 8:40PM INFERNAL AFFAIRS 2 (119min) 11:10PM DEAD BITE (94min) Saturday, July 7 1:30PM ZERO MAN VS THE HALF VIRGIN (105min) 3:45PM THE KING OF PIGS (97min) + guest director Yeun Sang-Ho 6:30PM THE LOST BLADESMAN (108min) + guest star Donnie Yen 9:00PM GUNS AND ROSES (108min) 11:15PM MIAMI CONNECTON (83min) + guest Grandmaster Y.K. Kim Sunday, July 8 12:30PM BLOODY FIGHT IN IRON-ROCK VALLEY (89min) 2:30PM ACE ATTORNEY (135min) 5:15PM KILL ZONE (aka SPL: SHA PO LANG) (93min) + guest star Donnie Yen 8:00PM THE KING OF PIGS (97min) + guest director Yeun Sang-Ho 10:30PM HONEY PUPU (102min) Monday, July 9 12:30PM YOU ARE THE APPLE OF MY EYE (109min) 2:50PM NASI LEMAK 2.0 (108min) 5:00PM A SIMPLE LIFE (119min) 7:45PM DRAGON (aka WU XIA) (98min) + guest star Donnie Yen 10:30PM RED VACANCE, BLACK WEDDING (86min) Tuesday, July 10 1:30PM GUNS AND ROSES (108min) 4:00PM KOREAN SHORT FILM MADNESS (90min) 6:00PM GOLDEN SLUMBERS (98min) + guest director Davy Chou 9:00PM DIN TAO: LEADER OF THE PARADE (123min) Tuesday, July 10 @ Tribeca Cinemas 7:00PM SECRET LOVE (111min) + guest actress Yoon Jin-Seo Wednesday, July 11 1:15PM ALL ABOUT MY WIFE (120min) 3:50PM DEAD BITE (94min) 6:00PM THE SWORD IDENTITY (110min) 8:15PM DOOMSDAY BOOK (115min) 10:30PM MAKE UP (107min) Thursday, July 12 1:00PM DOOMSDAY BOOK (115min) 3:30PM BLOODY FIGHT IN IRON-ROCK VALLEY (89min) 6:15PM NASI LEMAK 2.0 (108min) + guest producer Fred Chong 9:00PM BLOOD LETTER (90min) SCREENINGS AT JAPAN SOCIETY Thursday, July 12 6:30PM ASURA (78min) 8:15PM SMUGGLER (114min) Friday, July 13 6:30PM HARD ROMANTICKER (108min) 9:00PM The Atrocity Exhibition (3 films back-to-back: LET’S MAKE THE TEACHER HAVE A MISCARRIAGE CLUB + BIG GUN + HENGE) (145min) Saturday, July 14 1:00PM SCABBARD SAMURAI (103min) 3:15PM TOKYO PLAYBOY CLUB (97min) 5:30PM GYO (70min) 7:15PM LOVE STRIKES! (118min) + guest actress Masami Nagasawa – plus Striking Love after party Sunday, July 15 1:30PM ACE ATTORNEY (135min) 4:15PM TORMENTED (83min) 6:00PM MONSTERS CLUB (72min) + guest director Toshiaki Toyoda 8:00PM POTECHI (CHIPS) (70min)

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ABOUT THE FILM SOCIETY OF LINCOLN CENTER

Under the leadership of Rose Kuo, Executive Director, and Richard Peña, Program Director, The Film Society of Lincoln Center offers the best in international, classic and cutting-edge independent cinema. The Film Society presents two film festivals that attract global attention: the New York Film Festival, currently planning its 49th edition, and New Directors/New Films which, since its founding in 1972, has been produced in collaboration with MoMA. The Film Society also publishes the award-winning Film Comment Magazine, and for over three decades has given an annual award (now named “The Chaplin Award”) to a major figure in world cinema. Past recipients of this award include Charlie Chaplin, Alfred Hitchcock, Martin Scorsese, Meryl Streep, and Tom Hanks. The Film Society presents a year-round calendar of programming, panels, lectures, educational programs and specialty film releases at its Walter Reade Theater and the new state-of-the-art Elinor Bunin Munroe Film Center, opening June 2011. The Film Society receives generous, year-round support from 42BELOW, American Airlines, The New York Times, Stella Artois, the National Endowment for the Arts, WNET New York Public Media, Royal Bank of Canada and the New York State Council on the Arts. For more information, visit FilmLinc.com.

ABOUT NYAFF

Subway Cinema is a New York-based film programming, exhibition, and marketing collective, committed to increasing exposure and appreciation for Asia`s popular cinema with year-round events and screenings. Its flagship event is the New York Asian Film Festival which the New York Times has called "...one of the city`s most valuable events..." Launched in 2002, the NYAFF is America`s leading and most influential showcase for popular Asian cinema. Each year, the Festival selects over 40 feature films, and only the best, the strangest, and the most entertaining make the cut. The NYAFF was the first North American film festival to put a spotlight on Johnnie To, Bong Joon-Ho and Park Chan-Wook and it also held the largest retrospective of Tsui Hark`s work outside of Hong Kong. It is widely considered invincible. The NYAFF is made possible through the support of the Hong Kong Economic and Trade Office New York, the Korean Cultural Service New York, Taipei Economic and Cultural Office in New York, Japan Foundation and the Kitano Hotel.

ABOUT JAPAN SOCIETY

The Japan Society Film Program has offered a diverse selection of Japanese films, from classics to contemporary independent productions. The Program has included retrospectives of seminal directors, thematic series and special screenings of international, U.S. and NY premieres. Several original film series curated by Japan Society have traveled to other U.S. venues in tours organized by the Film Program. The Film Program has provided English subtitles for films which have never been screened outside of Japan. Accompanying lectures help place the films in their aesthetic and social contexts, and filmmakers often introduce and discuss their work.