Simmons (WHIPLASH) star in veteran genre journalist, filmmaker, and podcaster Rebekah McKendry’s wickedly funny, mind-bending mix of comedy, horror, sci-fi and gloriously indescribable weirdness. This political satire in the spirit of DON’T LOOK UP takes a funny and pertinent look at our indifference towards environmental crises. When a humongous creature dies in a river, authorities choose to use the rotting carcass as a tourist attraction rather than clean up the potential ecological disaster. Miki’s gently eccentric sense of humour further illuminates the festival’s screens with the Canadian Premiere of WHAT TO DO WITH THE DEAD KAIJU?, a sci-fi comedy that brings the Japanese giant-monster genre to a human scale.
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Satoshi Miki’s CONVENIENCE STORY, which was pitched at the Frontières Co-Production Market, comes full circle with its World Premiere and marks Japan Times film critic Mark Schilling’s debut as a screenwriter. Kato (Ryo Narita, JUST REMEMBERING) is a struggling screenwriter who, one day when stepping out to buy dog food, stumbles into a mysterious convenience store where he discovers he can find anything his heart desires. Outstanding filmmaker Satoshi Miki (ADRIFT IN TOKYO) brings us his latest otherworldly adventure. SATOSHI MIKI’S UNIQUE CREATIVITY SHOWCASED AT FANTASIA 2022 WITH THE WORLD PREMIERE OF CONVENIENCE STORY AND THE CANADIAN PREMIERE OF WHAT TO DO WITH THE DEAD KAIJU? Fantasia is proud to honor John Woo’s legacy. He is currently hard at work on SILENT NIGHT, an upcoming return to American filmmaking, starring Joel Kinnaman and Kid Cudi. IMPOSSIBLE II (2000) and epics such as RED CLIFF I & II (2008, 2009), and THE CROSSING I & II (2014, 2015). In the years following this era, Woo has worked alternately in both Hollywood and China, on further blockbuster classics such as HARD TARGET (1993), FACE/OFF (1997), MISSION: Chow Yun-fat, Tony Leung Chiu-Wai and others became international stars under his watchful eye, and by crafting an action cinema – and a genre – of his own, Woo continues to astonish audiences and filmmakers alike, inspiring legions across the world. Following martial arts films such as HAND OF DEATH (1976), LAST HURRAH FOR CHIVALRY (1979) and beloved comedies such as MONEY CRAZY (1977) and PLAIN JANE TO THE RESCUE (1982), Woo made his name with the groundbreaking heroic bloodshed of films such as A BETTER At the heart of everything, Woo’s films are deeply moral visions,īuilt around themes of friendship and trust with moving sincerity.
His brilliantly original editing patterns are instantly recognizable, as are his slow-motion sequences, employed as much for pathos as to provide poignantly counter-adrenalized flourishes.
Nobody breaks down a sequence like Woo does: his staging is complex, his camera choreographies always elaborate, his mastery of physical performance and stunts unrivaled. With a singular directorial approach, Woo reinvented the conventions of action cinema, its visual language and dramatic codes. Here’s the press release with a first look at images from several prominent genre films…įor its 26 th edition, Fantasia is proud to honour the groundbreaking Hong Kong filmmaker John Woo with a Career Achievement Award. While the festival’s full lineup will be announced in late June, Bloody Disgusting has the first wave of titles and a special Career Achievement Award for a hugely influential Hong Kong artist whose extraordinary work was foundational to the festival’s formation.
The Fantasia International Film Festival is heading back to theaters this year, celebrating its 26th edition with a dynamic in-person program of screenings, workshops, and launch events running from July 14 through August 3, 2022.