The recent edition of the Udine Far East Film Festival (FEFF) concluded, reaffirming its status as a vital platform for showcasing the diverse cinematic landscape of Asia. This year’s program maintained the festival’s esteemed tradition of balancing accessible, crowd-pleasing films with more introspective, auteur-driven works and historical narratives. The prevailing global atmosphere of instability and uncertainty appeared to resonate with audience preferences, as films with a strong social or historical focus garnered significant attention and ultimately emerged as award winners, complementing the continued appeal of emotionally resonant cinema.
Shifting Regional Focus and Emerging Trends
A notable observation from this year’s festival was a recalibration of regional representation. The Chinese film selection was scaled back, creating space for a more prominent presence of films from Hong Kong and Japan. Japanese cinema, in particular, made a strong showing with two world premieres and the family drama "Fujiko," which went on to secure three awards, highlighting its critical and popular success. Conversely, South Korea, which has enjoyed a dominant presence in recent years, appeared to be navigating a more varied phase. Its most significant contribution to this year’s festival was the documentary "The Seoul Guardians," a compelling examination of a recent critical juncture in the country’s history. ASEAN cinema was well-represented, with Vietnam fielding the largest contingent of films in competition, including the critically acclaimed "Tunnels: Sun in the Dark," recognized as one of the festival’s standout entries. In a departure from previous years, the festival’s long-standing late-night horror slot, a consistent audience favorite, saw a diminished presence, with the genre being only marginally featured.
Honoring Cinematic Legacy and International Talent
The Udine Far East Film Festival has consistently placed significant emphasis on guest attendance, and this edition was no exception, drawing a strong assembly of international talent, with a particular concentration of filmmakers and actors from Japan and Taiwan. A significant highlight of the festival was the presentation of three prestigious career awards. Acclaimed Japanese actor Kōji Yakusho was honored, with his accolade presented by renowned director Wim Wenders. Yakusho was also the subject of a dedicated seven-film retrospective titled "Kōji Yakusho: Perfect Roles," celebrating his extensive and impactful career. Chinese actress Fan Bingbing and celebrated action choreographer and director Yuen Woo-ping were also recognized for their contributions to cinema. Yuen Woo-ping attended the screening of his wuxia film "Blades of the Guardians: Wind Rises in the Desert," which served as the festival’s closing film.
Festival Highlights: A Closer Look at Key Films
Fujiko by Taichi Kimura
Taichi Kimura’s "Fujiko" made its world premiere in competition at the Udine Far East Film Festival, marking a significant step in its international rollout before its opening slot at Nippon Connection and its Japanese theatrical release. This marks Kimura’s second feature film, following "Afterglows," which earned him the Best Director award at the 2023 Barcelona Asian Film Festival. Produced by and starring MEGUMI, "Fujiko" is described by Kimura as his most important work to date, drawing deeply from his own family history. The film’s evocative score, featuring contributions from Thomas Yardley and notable artists like Daiki Tsuneta of King Gnu and Popal Daoud Akira of Kikagaku Moyo, further enhances its artistic merit.
The narrative unfolds in Shizuoka during the late 1970s and 1980s. The story begins in 1982 with Fujiko, now an insurance saleswoman, encountering a weary hotel cook. Their chance meeting sparks a retrospective of her life, commencing in 1977 with the birth of her daughter, Mari, on a stormy night. Initially a symbol of hope, Fujiko’s joy is soon overshadowed by a controlling household and the contempt of her husband’s family, who eventually separate her from her child. With the unwavering support of her mother, Chiyo, Fujiko reclaims Mari and embarks on the challenging path of raising her as a single mother, defying societal expectations of the era.
Kimura employs a distinctively retro aesthetic, evident from the opening scene where a brief encounter triggers a sweeping life narrative. The film’s structure, characterized by its episodic nature and the strategic pacing of its 95-minute runtime, evokes a classic mode of popular filmmaking – one that is both playful and emotionally direct. However, "Fujiko" transcends mere nostalgia by using its period setting to offer a critical exploration of Japanese society and the pervasive patriarchy of the time. Anchored by Yuki Katayama’s stellar performance and a robust ensemble cast, the film successfully blends crowd-pleasing entertainment with substantive drama, reflecting on the past with a nuanced mix of affection, righteous anger, and vibrant cinematic energy.
Director Taichi Kimura elaborated on the deeply personal nature of "Fujiko," its bold musical direction, and his critique of the overreliance on the concept of "ma" in Japanese cinema. He described the festival reception as "overwhelming and somewhat surreal," having not anticipated such a strong audience reaction. The film’s narrative is rooted in his mother’s life, a story he has known since childhood, with approximately seventy percent of the events based on real occurrences, though he humorously notes that even his family might dispute the exact figure. Kimura also shared his candid perspective on the current state of Japanese cinema, expressing frustration with what he perceives as a trend towards smaller-scale, slower-paced narratives, often characterized by minimalism and silence. He advocates for a more dynamic and music-driven approach, influenced by his upbringing in the UK and his exposure to Western cinema.
The Seoul Guardians by Kim Jong-woo, Kim Shin-wan, and Cho Chul-young
"The Seoul Guardians," a documentary that garnered a Special Mention from the NETPAC jury at the Rotterdam Film Festival, exemplifies how compelling narratives can be found in non-fiction filmmaking. The film stands out for its remarkable tension, a quality often perceived as lacking in contemporary Korean and broader Asian cinema. The documentary meticulously chronicles the events of December 3, 2024, when President Yoon Suk Yeol declared martial law, citing national security concerns and alleged collaboration with North Korea by the Democratic Party. However, the film suggests that the decision stemmed from the President’s frustration with strong opposition blocking his legislative agenda, particularly the budget.
The film captures the immediate aftermath of the martial law declaration, detailing the scramble by numerous lawmakers to reach the National Assembly to override the measure. Security forces were reportedly deployed inside parliament to prevent entry, leading to chaotic scenes of individuals attempting to gain access. As it became apparent that the vote would go against him, the President allegedly ordered the military to intervene, with helicopters landing nearby and attempts made to storm the building. Those inside barricaded themselves, leading to a tense standoff.
The directors, embedded within the National Assembly, captured these events in a raw, reportage style, resulting in a documentary that often feels more akin to an action film or political thriller. The narrative is framed by the Constitutional Court’s decision regarding the President’s impeachment for the unlawful declaration of martial law, placing the immediate events within a broader institutional context. The editing by Stacy Kim and Cho Chul-young is particularly noteworthy, contributing significantly to the film’s palpable tension through constant cuts and the judicious exclusion of extraneous material. "The Seoul Guardians" is recognized as an exceptional piece of filmmaking, standing as one of the year’s most impactful documentaries and films.
My Name by Chung Ji-young
Veteran filmmaker Chung Ji-young’s "My Name" continues his career-long dedication to exploring pivotal and often turbulent moments in modern Korean history. Following acclaimed works such as "The Boys," "Black Money," and "Unbowed," this film premiered in the Forum section of the Berlin International Film Festival and has achieved considerable box office success in Korea. It arrives amidst a wave of films addressing the Jeju 4.3 Incident, including "Hallan," and was a notable screening at Udine.
The story is set in 1998 on Jeju Island, focusing on 18-year-old high school student Young-oak. He grapples with discomfort over his perceived feminine name in a hyper-masculine and socially rigid environment. Simultaneously, his mother, Jeong-sun, a ballet teacher, experiences unexplained physical and psychological distress, particularly during spring, as long-repressed memories begin to surface.
Chung Ji-young masterfully weaves together three narrative threads. The first centers on Young-oak, particularly his rise to class president and the subsequent emergence of a gang led by Kyung-tae. The second thread, set in the present, follows Jeong-sun’s struggle with trauma, prompting her psychiatrist to encourage her to confront her past. This leads to the third axis, which delves into Jeong-sun’s history, moving backward from recent memories to her childhood, revealing significant truths progressively. Despite occasional moments of melodrama and some disjointed scenes, "My Name" emerges as a highly competent film, skillfully navigating the space between mainstream and independent sensibilities, maintaining a consistent level of quality throughout its runtime.
Unchained by Keisuke Yoshida
Keisuke Yoshida has established a reputation for crafting nuanced portraits of individuals living on the fringes of society. In "Unchained," he revisits this territory, focusing on the sensitive themes of bullying and juvenile delinquency, approached from a distinct perspective within Japanese cinema. The film received its world premiere at the Udine Far East Film Festival. The narrative centers on a small group of characters, most notably Nishi, a physically imposing figure who initially appears to be a gang member but is revealed to be the director of a rehabilitation center for troubled adolescents. A former convict with a history of violent offenses, Nishi is now a staunch advocate for the possibility of personal transformation.
Parallel to Nishi’s story is that of a dedicated schoolteacher deeply concerned about Kaito, a student exhibiting extreme violent tendencies and an alarming lack of empathy. Kaito’s uncontrolled outbursts of rage directed at classmates, family, and even animals highlight his apparent inability to comprehend the harm he inflicts. Yoshida’s direction retains his signature personal tone, characterized by a blend of intense emotionality and an unexpected, almost accidental, vein of humor. His characters are compelling, driven by raw emotion, yet often reveal moments of unintentional comedic effect. Ultimately, "Unchained" offers another emotionally charged and critical examination of society, anchored by an unforgettable and eccentric lead character. The film is a morally complex work that refrains from providing easy answers, instead posing lingering questions about responsibility, guilt, and the enduring potential for change.
Mother Bhumi by Chong Keat Aun
"Mother Bhumi" marks the fourth feature film from Malaysian filmmaker Chong Keat Aun, who also penned the screenplay. The film premiered internationally at the Tokyo Film Festival in October and features a notable cast including Fan Bingbing, Natalie Hsu, and Bai Run-yin. It garnered eight nominations at the 62nd Golden Horse Awards, securing three wins, including Best Cinematography, Best Original Film Song, and Best Leading Actress for Fan Bingbing.
Set in a northern Malaysian village bordering Thailand during the late 1990s, the film explores the coexistence of Chinese, Malay, and Siamese communities. The narrative follows Hong Im, a widowed farmer who lives a tranquil yet minimalist life with her children following her husband’s death. The family holds a belief that he may have reincarnated in the buffalo kept within their home. By day, Hong Im toils in the paddy fields; by night, she serves as a ritual healer, assisting villagers with illnesses and misfortunes through her use of traditional practices and perhaps a touch of magic.
Chong Keat Aun continues to distinguish himself as one of Malaysia’s most compelling filmmakers. His signature blend of the supernatural with political, historical, and social commentary forms the robust backbone of the narrative. The relationship between the protagonist and her children adds a significant layer of family drama. The film’s success is greatly indebted to Fan Bingbing’s impressive performance, portraying a complex character who embodies multiple roles—mother, shaman, activist, and victim—with conviction. As is characteristic of Chong’s work, the visuals are of exceptional quality. Leung Ming Kai’s cinematography artfully captures the paddy fields, domestic interiors, and public spaces with both aesthetic beauty and realism, seamlessly transitioning between ritualistic imagery and a near-documentary style. While perhaps less layered thematically than some of his previous works, "Mother Bhumi" remains a competent and engaging film, distinguished by its striking visuals and the powerful performances at its core.
Unexpected Family by Li Taiyan
"Unexpected Family" represents a significant stride forward for emerging director Li Taiyan, whose work adeptly bridges documentary sensitivity with narrative storytelling. In his directorial and writing debut, Li Taiyan takes an ambitious approach by casting Jackie Chan in an unconventional role, moving beyond his established screen persona. The film follows the journey of Zhong Bufan, a young, penniless man en route to Wuhan with a poignant mission: to transport his beloved grandmother’s ashes to the city for a proper burial, honoring the woman who raised him after his parents’ early demise. However, Bufan faces the immediate challenge of finding employment and financial stability in the daunting urban landscape.
Bufan soon encounters Jia, alongside the young Su and their neighbor Auntie Jin, who collectively care for Ren, an elderly man suffering from dementia. They form a makeshift family unit, providing solace for Ren and filling the void of their own solitary lives in the bustling city. Director Li Taiyan’s film incorporates the essential elements of a successful Lunar New Year film: a blend of comedy and drama, a strong emphasis on family bonds, and the universally appealing theme of homecoming. It also addresses contemporary societal issues, including the growing disconnection from family in rapidly modernizing cities and the increasing prevalence of cognitive decline. Jackie Chan delivers a remarkably poignant performance as Ren, portraying a man lost in the fog of dementia despite his physically capable body, existing in a liminal space between awareness and confusion. His portrayal is both heart-wrenching and incredibly believable. Collectively, "Unexpected Family" offers a wholesome cinematic experience—touching, tender, and a genuine pleasure to watch.
The Shadow’s Edge by Larry Yang
Larry Yang returns with "The Shadow’s Edge," his second film following the 2023 release "Ride On," again collaborating with Jackie Chan. While "Ride On" was a heartwarming fusion of family drama, action, and comedy, "The Shadow’s Edge" delves into considerably darker and more complex themes. Nevertheless, both films serve as affectionate, nostalgic tributes to the legacy of Hong Kong action cinema and Jackie Chan’s illustrious career. In this latest venture, Chan is joined by Tony Leung Ka-fai, another luminary of Asian cinema, who delivers a commanding performance as the film’s enigmatic antagonist, "The Shadow."
The film introduces a new syndicate of high-tech thieves and masters of disguise operating in Macau, led by former intelligence officer Fu Lang-seng, known as "Shadow." Faced with mounting frustration, the police enlist the expertise of retired surveillance specialist Wong Tak-chong to identify Shadow and his crew. Eschewing modern technology in favor of traditional methods, Wong assembles and trains a young task force to patrol Macau’s streets. Despite an impressive, high-octane opening sequence showcasing the high-tech exploits of the con artists, the film’s most compelling moments are its more grounded, low-tech sequences, featuring an old-fashioned cat-and-mouse game between Jackie Chan and Tony Leung. This return to classic form for the 71-year-old Jackie Chan is evident in his fight choreography, which continues to entertain, and the effective juxtaposition of his comedic timing with the film’s gritty plot. Overall, "The Shadow’s Edge" delivers a solid, crowd-pleasing spectacle that successfully balances action, humor, and suspense.
Ky Nam Inn by Leon Le
Following the international acclaim of "Song Lang," Leon Le makes a highly anticipated return with his sophomore feature, "Ky Nam Inn." The film premiered in the Special Presentations section of the 50th Toronto International Film Festival and continues Le’s exploration of memory, art, and human intimacy, this time set against the backdrop of post-war Saigon in the 1980s. Shot entirely on 35mm, "Ky Nam Inn" not only marks the celebrated comeback of actress Do Thi Hai Yen but also solidifies Le’s position as a distinctive voice in contemporary Vietnamese cinema.
Set in the mid-1980s, a period of national healing and gradual renewal for Vietnam, "Ky Nam Inn" tells the story of Khang, a young translator tasked with creating a new Vietnamese rendition of Antoine de Saint-Exupéry’s "The Little Prince." Upon arriving in Saigon, he takes up residence in a dilapidated collective housing unit, where he encounters Ky Nam, a widowed older woman from the South who sustains herself by cooking for the building’s tenants.
A striking aspect of "Ky Nam Inn" is its meticulous craftsmanship. Similar to "Song Lang," it is a visual masterpiece, with intricately designed sets. Bob Nguyen’s cinematography expertly utilizes framing, even in crowded interior spaces, and the color grading by Octopus results in a series of painterly images. Despite minor shortcomings, "Ky Nam Inn" emerges as a visually stunning and emotionally resonant work, characterized by its exquisite execution and subtle social and political commentary.
Suzuki=Bakudan by Akira Nagai
"Suzuki=Bakudan," translating to "Suzuki=Bomb," is a 2025 Japanese crime thriller directed by Akira Nagai, based on Katsuhiro Go’s novel of the same name, which received significant acclaim at major Japanese literary awards in 2023. Following a successful theatrical run in Japan, where it grossed over 2 billion yen, the film has achieved wider international distribution on Netflix. It debuted in the platform’s top 10 most-watched non-English titles, with 2.8 million views in its first week. Comparisons have been drawn to "Se7en" for its riddle-driven narrative and to "Joker" for its unhinged antagonist.
The film opens on a seemingly ordinary night in Tokyo, where two police officers apprehend a homeless man for vandalizing a vending machine and assaulting a convenience store employee. The man is brought to the police station for interrogation by young detective Isao Todoroki, but it quickly becomes apparent that something is amiss. The film excels in its portrayal of its villain, Suzuki, who dominates the narrative from an understated beginning to an explosively insane conclusion. For a significant portion of its runtime, the film is set within the interrogation room, where Suzuki systematically escalates the stakes and tests the limits of his adversaries. While the third act of "Suzuki=Bakudan" experiences a slight dip in momentum following a strong build-up, the film remains an entertaining and tense thriller, largely due to the compelling performances of its stellar cast.
The World of Love by Yoon Ga-eun
Writer-director Yoon Ga-eun has once again demonstrated her profound sensitivity in capturing the experiences of childhood and adolescence with her latest film, "The World of Love." This follows her highly promising debut feature, "The World of Us," released nine years prior, and her sophomore film, "The House of Us," six years ago. The film confirms her status as one of South Korea’s most insightful storytellers in this domain. The narrative introduces 17-year-old Jooin, dressed in her school uniform, in conversation with her teacher about after-school clubs. Unsure of her interests or future path, Jooin is nonetheless depicted as spirited, humorous, and full of life.
Yoon Ga-eun has cultivated a reputation for her remarkable ability to connect with children on their level, viewing the world through their eyes. In "The World of Us," the protagonist navigates the complex social dynamics of the playground and learns effective communication. "The House of Us" explored the concept of family and its foundational elements. With "The World of Love," Yoon Ga-eun shifts her focus to examine pain and trauma, expanding her perspective from the first-person viewpoint of her previous films to encompass the broader social landscape surrounding Jooin’s life. Once again, Yoon Ga-eun exhibits her deep empathy for younger generations, her delicate yet assured storytelling, her dedication to her craft, and her keen understanding of her audience, solidifying her position as a significant and compelling filmmaker of the current era.
Another World by Tommy Ng Kai Chung
Over two decades ago, Hong Kong produced the animated film "My Life as McDull," which achieved historic recognition within the animation community and garnered numerous international awards. In 2025, first-time director Tommy Ng Kai-chung reignites hopes for global recognition of Hong Kong’s animation potential with his epic fantasy film, "Another World." Adapted from Japanese author Naka Saijo’s novel "Sennenki: Thousand-Year Journey of an Oni," the film was selected for screening at the prestigious Annecy International Animation Film Festival and has received three Golden Horse Award nominations.
Despite the presence of characters and settings such as princesses, knights, and a "Flower City," and an aesthetic reminiscent of Japanese "kawaii" anime, "Another World" offers little in the way of overt cuteness or sweetness. Instead, the film presents a direct exploration of the origins of evil, the role of trauma in fostering rage and resentment, and the cycle of negative karma generated by unresolved grievances. These themes, along with the concept of the titular "Another World," are profoundly influenced by Buddhist philosophy, particularly the concept of impermanence. The animation in "Another World" is of the highest caliber, seamlessly integrating 2D and 3D elements. Simultaneously heart-wrenching and exhilarating, the film resonates deeply with its audience. Despite its narrative complexities, "Another World" stands as a significant achievement for first-time director Tommy Ng Kai-chung and holds the potential to positively impact the future of the Hong Kong animation industry.
A Mighty Adventure by Toe Yuen
"A Mighty Adventure" is an animated featurette by director Toe Yuen, who gained international recognition after winning the top prize at the Annecy International Animation Film Festival with "My Life as McDull" in 2001, a landmark achievement for Hong Kong animation. After an extended hiatus, Yuen returns with this 77-minute film, which masterfully blends computer animation with live-action elements in a visually ambitious hybrid format. The film opens in what appears to be an idyllic natural setting—a lush forest that is later revealed to be the suburban greenery of a large city, closely resembling Hong Kong. Within this miniature ecosystem, various insect families coexist.
At its core, this is a family-oriented animated film that is sweet, playful, and often humorous, yet also engaging for adult viewers. While it may initially evoke comparisons to Pixar-style storytelling and characters, the film distinguishes itself through its execution. The visuals are striking, featuring a seamless integration of animation and live-action backgrounds rendered with remarkable detail. Dust, soil, and everyday textures are brought to life, lending weight and presence to this miniature world. "A Mighty Adventure" marks a warm and imaginative return for Toe Yuen, contributing to a broader sense of renewal within Hong Kong animation, alongside works such as "Another World." It is a simple yet meticulously crafted film that finds its strength in its attention to detail, texture, and a gentle spirit of discovery.
Once We Were Us by Kim Do-young
The South Korean adaptation of the popular 2018 Chinese romance "Us and Them," titled "Once We Were Us," has been entrusted to the capable hands of director, writer, and actress Kim Do-young, who previously brought the bestselling novel "Kim Ji-young, Born 1982" to the screen in 2019. As Eun-ho and Jeong-won board a plane bound for Seoul, their eyes meet. They share a history as a former couple, now estranged. When the flight is diverted due to inclement weather, they find themselves spending the night together, revisiting their past through a series of extended flashbacks that unfold for the audience.
Within the initial moments of "Once We Were Us," the audience is aware of the story’s conclusion. The narrative foretells a relationship that did not endure, preparing viewers for a potentially somber outcome. Nevertheless, and perhaps precisely because of this foreknowledge, the audience remains captivated, anticipating the unraveling of events and seeking to understand the reasons for the relationship’s demise. The love story begins with an exhilarating sense of childlike freshness and honesty—funny, tender, clumsy, and unvarnished. Overall, despite minor imperfections, "Once We Were Us" offers a surprisingly gripping and compelling experience. It may also appeal to audiences not typically inclined towards romance, owing to its candid dissection of the often harsh realities of love in the real world.
Night King by Jack Ng
East Tsim Sha Tsui, particularly during the 1970s and 1980s, was the vibrant epicenter of Hong Kong’s nightlife, characterized by its neon-lit landscape and bustling hostess nightclubs. This historically popular district serves as the setting for director Jack Ng’s second feature, "Night King," following his groundbreaking debut, "A Guilty Conscience." Fast forward to the 2010s, and East Tsim Sha Tsui no longer possesses the same allure, with many nightclubs having ceased operations. One establishment that perseveres, against the odds, is EJ Club, led by its enterprising and determined CEO, Foon, who strives to uphold the traditional values of the business in an era of evolving entertainment.
Following up a debut that became the highest-grossing domestic film in Hong Kong history, earning over HK$100 million, was a formidable task. However, Jack Ng largely succeeds in delivering an entertaining production. The narrative effectively captures the evolving social landscape of Hong Kong and the resilient, never-say-die spirit of its people, shedding light on an industry that was once thriving but is now on its last legs. The film is most effective when it leans into its comedic elements, leveraging lead actor Dayo Wong’s comedic talents to great effect. Ultimately, while "Night King" may not entirely reach the lofty standards set by Ng’s debut, it falls only slightly short, making it a flawed but entertaining and visually glamorous second effort from the director.
A Foggy Tale by Chen Yu-hsun
For decades, from the declaration of martial law in 1949 until 1992, Taiwan experienced a period known as the White Terror, a phase of political repression by the Kuomintang government. This era saw widespread fear among civilians, with individuals subjected to searches, persecution, and executions based on suspicions of communist affiliation, often without concrete evidence. It is within this historical context that director Chen Yu-hsun, known for "Tropical Fish" and "My Missing Valentine," sets his latest work, "A Foggy Tale." The film opens calmly in 1953, with teenage sister Yue delivering lunch to her elder brother in the fields. A year later, Yue receives news that her brother has been executed by firing squad in Taipei. Armed with only a few coins and her brother’s treasured watch, Yue embarks on a journey to Taipei, hoping to raise the necessary funds to claim his body.
For the majority of its narrative, "A Foggy Tale," written by Chen Yu-hsun himself, uses the White Terror as a backdrop to the story, which remains focused on Yue and Chao Kung-tao’s efforts to raise money. In this pursuit, it develops a beautiful friendship and trust between the innocent Yue and the somewhat oafish Chao, a dynamic that is as charming as it is frequently humorous. Chen employs a delicate touch, weaving in subtle details without overemphasizing them for the characters. At the Golden Horse Awards, "A Foggy Tale" received 11 nominations, ultimately winning four awards, including Best Narrative Film and Best Original Screenplay, a testament to its cinematic merit. Despite a few minor criticisms, it stands as an accomplished feature that delicately recounts a significant story from a dark period in modern history.
