Ubisoft Presents Fantasia 2008

Great guests fom Japan.

July 12th, 2008 04:07:00

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Shadows in the Palace

Shadows in the Palace (South Korea) Dir.: Kim Mee-jung - Canadian premiere
A graceful, elegant costume drama evoking the lush yet suffocating heights of medieval Korean society, SHADOWS IN THE PALACE conceals within the folds of its royal finery a grand, delightfully noir detective story shaded with chilling tones of the supernatural. Produced and directed by women—first-time director Kim Mee-jeung worked on THE KING AND THE CLOWN, a similarly resonant period piece—the film affords little screen time to males, presenting instead a rich and intricate tapestry of womanhood.

L: Change the World (Japan) Dir.: Hideo Nakata – Canadian premiere
If, like millions the world over, you’re gripped by the momentous, morbid mind games and starling originality of the world of DEATH NOTE, you’ll be happy to know that its protagonist L is back in this fascinating offshoot. And guess who’s in the director’s chair! None other than Hideo Nakata, the very same who crafted the prototypical J-horror sensations RINGU, RINGU 2 and DARK WATERS.

Outer Limits of Animation 2008
A singular cinematic experience, OUTER LIMITS OF ANIMATION 2008 showcases various forms of animation and storytelling, shorts coming from around the globe—including many presented for the first time in North America.

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Canadian premiere of Wicked Lake hosted by director Zach Passero.

Wicked Lake (USA) Dir.: Zach Passero - Canadian premiere
The creative minds behind such films as THE LOST, I KNOW WHO KILLED ME and the MASTERS OF HORROR episode "SICK GIRL" reunite to deliver yet another twisted, female-focused horror tale. Fans of industrial rock will enjoy the soundtrack for Wicked Lake, designed by Ministry front man Al Jourgensen.

Velvet Hustler (Japan) Dir.: Toshio Masuda - Canadian premiere
More self-consciously stylish and comic than the usual Nikkatsu Action product, VELVET HUSTLER resembles Watari's most famous Nikkatsu film in the West, Seijun Suzuki's TOKYO DRIFTER (1966). Breathlessly stylish, this film is the very definition of gangster chic, and quite probably the coolest Japanese movie of the 1960s.

Beautiful Sunday (Korea) Dir.: Jin Kwang-kyo – Canadian premiere
A particularly debased atmosphere permeates BEAUTIFUL SUNDAY, a film that inflicts unease on even the sturdiest audience, exploring as it does the ugliest corners of the human psyche. It’s remarkable that a novice filmmaker should tackle such raw and risky themes, and a narrative structure so complex, but he succeeds admirably.

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Canadian premiere of Chanbara Beauty

Chanbara Beauty (Japan) Dir.: Yohei Fukuda - Canadian premiere
A crazy, blood-slicked romp culminating in a clash of savage swords and sorcery, CHANBARA BEAUTY is a cavalcade of horrifying zombie action and hot, weapon-wielding babes in lurid outfits—in other words, Grade A Japanese B-movie material!
The pouting, lightning-fast Eri Otoguro (last seen in the American remake of SHUTTER) plays Aya, the lead character from the popular Tamsoft videogame series ONECHANBARA in this adaptation to film.

The Shadow Spirit (Japan) Dir.: Masato Harada - North American premiere
The second adaptation of an award-winning novel from a series by celebrated mystery writer Natsuhiko Kyogoku, hailed as Japan’s modern Edgar Allan Poe, comes care of Masato Harada (KAMIKAZE TAXI, BOUNCE KO GALS). Set during Japan’s post-war era, THE SHADOW SPIRIT is a fiendishly fun cocktail of gruesome murder and strange magic, diabolical deeds and daring detective work, weird science and otherworldly whispers—and a rich period piece boasting captivating and complex characters, fleshed out by a truly wonderful cast.

All The Boys Love Mandy Lane (USA) Dir : Jonathan Levine - Montreal Premiere
A critically-acclaimed and surprisingly provocative reworking of traditional slasher film themes, MANDY plays somewhat like a homicidal sister act to VIRGIN SUICIDES with razor-sharp (and often very funny) dialogue, heaps of tension, lacerating moments of violence and a garish visual aesthetic blasting out from its frames. That it’s also a smart, dark discourse on Objectification only sweetens the mix!

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All The Boys Love Mandy Lane

Shamo (Hong kong / Japan) Dir.: Soi Cheang - Canadian premiere
If Soi Cheang’s DOG BITE DOG came at you like a punch to the gut, then his follow-up film, SHAMO, is a kick in the teeth. Stylish, emotionally raw and intensely violent, this is a film that leaves its audiences just as battered, bruised and beaten as its lead character.

Accuracy of Death (Japan) Dir.: Masaya Kakei - Canadian premiere
Based on the popular novel of the same name by Kotaro Isaka, ACCURACY OF DEATH explores territory not entirely different from that of the smash hit series DEATH NOTE, examining morality and mortality from the point of view of the supernatural beings tasked with striking down the living. Takeshi Kaneshiro (HOUSE OF FLYING DAGGERS, RETURNER), returning to Japanese cinema after a six-year absence.

Tokyo Gore Police (Japan) Dir.: Yoshihiro Nishimura - Canadian premiere, hosted by Eihi Shiina, Yoshihiro Nishimura, Tak Sakaguchi
Ruka is a cop, and she has a body full of scars to prove it. The fact that most of these scars were self-inflicted is another story. Her squad’s mission is to destroy homicidal mutant humans known as “engineers.” Action, kink and unbelievable degrees of carnage carve out Ruka’s path to retribution. In the lead role our guest Eihi Shiina, familiar from Takashi Miike’s notorious AUDITION.

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Canadian premier hosted by Director Yoshihiro Nishimura, Actress Eihi Shiina,
Actor / Action Choreographer Tak Sakaguchi and producers Yoshinori Chiba & Yoko Hayama

The Butcher (South Korea) Dir : Kim Jin-won – Canadian Premiere
THE BUTCHER was shot completely outside the studio system, something that is almost unheard of in South Korean cinema. Told entirely through two POV video cameras, giving the perspective of both victims and killers, it throws viewers into the middle of chaos and death: a handful of people have been abducted and lie bloodied and bound. Nearby, a team of snuff-film producers are discussing their plans... Less HOSTEL than it is a twisted form of verité mockumentary, THE BUTCHER uses a distinctively non-cinematic aesthetic to directly implicate not only the viewer in the crimes and serial mayhem taking place onscreen, but the mainstream Korean film industry as well.