FANTASIA GETS IT  RIGHT WITH FILMS SHOWING QUIRKINESS AND INSIGHT  SPINNING OUT OF CONTROL IN DANGEROUS TIMES

KING CAR, directed by Renata Pinheiro***

 

 A theme that juxtaposes ecological organic experimentation by a group of forward-looking agronomist student with mechanic advancement innovated by a strange family. Here is a film that makes humans become slaves to a talking car, named King Car.

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This old car was refurbished and brought to life after a new law prohibited old cars on the road.  We see humans becoming monkeys again and cars becoming demonic leaders. It is so well acted and the unusual turn of events makes its own compelling message about our love affair with technology embodied in a car.

ALIEN ON STAGE, DIRECTED BY LUCY HARVEY***

When ordinary working class folk with divergent personalities take their stage show with the silliest plot from the dull life of Dorset, England to London's West End theatre district, lifelong dreams become true for this humble lot of thespians. It's a charming piece that puts their collective pipe dream on the stage. It warms the heart to watch the ordinary become extraordinary.

 

LOST BOYS, directed by  Sadri Cetinkaya & Joonas Neuvonen ****   

It's just so sad to see two bros descend into hell because of drugs. South East Asia has claimed the life of one brother gone missing. Joonas travels bravely to find out what happened to his friend. It's described as a  related sequel to sequel to Reindeerspotting. A Quebec premiere that's terribly human and frightening. It's depressing and compelling.

 

 SWEETIE, YOU WON'T BELIEVE IT, directed by Emar Nurgaliev *

This is a fishing trip gone terribly wrong. Good friends game for adventure are pursued by a rather clumsy gangster, but things really turn dangerous when a psycho killer makes sure they never catch a fish to bring home. They call it a comedy, but I found it a dark badly edited unfunny film to say the least.

PAUL DOOD’S DEADLY LUNCH BREAK, directed by Nick Gillespie ***

A Brit Monty Python-type quirky character named Paul (Tom Meeton) is intent on getting to a talent show audition on time. He misses the train; his mom dies on the way in her wheelchair, but only after the phoney Buddhist tea-shop owner won’t give Paul water to save his mom from choking; and to top it off, the star host of the talent show mercilessly  destroys Paul's solo act and his personality.

 Intent on revenge, Paul peels back the layers of politeness, and gives all the horrid petty people who have deprived him of his moment of fame  -  their own moment to shine... in blood.  Some of the scenes are pure genius especially seen in the way the priest and his partner get their comeuppance.This fun revenge film is totally off the wall. I would say that Paul’s mom steals the on screen show, more than Paul.  Together, they create a crazy mom and son team - each covered in sparkles and fancy dress costume – typical to British comedy culture. 

It really has a fabulous start, but the rest becomes a confusing clutter after Paul finally gets to perform his act in front of the host of the show. 

I think there is a serious social comment in the film. The fact Paul only gets famous after he killed people, who belittled him before, shows -- despite the light-hardheartedness of it all -- just how scary it is that social media can influence people beyond reason.

FOLLOW THE LIGHT, Directed by Yoichi Narata *

Not so good despite the lovely scenery. A wild child named Maki goes on the roof waiting for a space ship to take her away. Meanwhile a young teen is captivated by this strange girl, and puts his talent to work, drawing her.

 He’s a fine artist who will be doing a mosaic mural for the school closing. This film is just so bad in tying together small village life, economic woes and teacher apathy. It all seems to come together by a green light in the sky – perhaps a flying saucer indeed according to reporting. A crop circle does nothing to bring this film full circle. Personally, the characters got on my nerves. A strange coming-of-age film with no impact.

New York Asian Film Festival scroll down for tons of info on the festival; pictures on this website: https://www.nyaff.org/editions

                

City of Lost Things (directed by Lee Chin-Yen)*** This is a brilliant 3D animation film that actually stirs your feelings for a bag, a spray aerosol and the many junk items that come to life.  It’s a bit long and repetitive, but rather amazing to watch. The message is unique. 16-year-old teenager Leaf runs away from home, skipping classes and ending up in a peculiar place called City of Lost Things. There he meets Baggy, a 30-year-old plastic bag. Baggy never sees himself as just another piece of junk. He has a purpose in his life - to lead his tribe to flee City of Lost Things. But he needs the help from Leaf to fight the dreadful army of the Armors.   scroll down after the review to get all of the wonderful film descriptions All about the festival Scroll down for the complete picture This year’s festival will open with the international premiere of Ryoo Seung-wan’s tense political thriller ESCAPE FROM MOGADISHU; include the North American premiere of Fruit Chan’s new horror masterwork COFFIN HOMES, and launch a new Asian American Focus selection New York, NY (July 16, 2021) – The New York Asian Film Foundation and Film at Lincoln Center are delighted to unveil further highlights of the 2021 New York Asian Film Festival (NYAFF), including the Opening film, lifetime award honorees, the competition lineup, the inaugural Asian American Focus and additional films. The Festival will screen over 60 films, both virtually and in person, to audiences in New York and across the country from August 6 – 22, 2021. NYAFF’s 20th edition will kick off at Film at Lincoln Center on August 6 with the in-person international premiere of Ryoo Seung-wan’s tense action thriller Escape from Mogadishu, starring Kim Yoon-seok (NYAFF Star Asia winner 2018) and Zo In-sung. The film is dramatically constructed based on real events that took place in 1991 at the onset of the Somali Civil War, and depicts the perilous escape attempted by North and South Korean embassy workers who were stranded during the conflict. (Well Go USA is releasing the film in the United States and Canada.) Legendary filmmaker Ann Hui will be the recipient of the Variety Lifetime Achievement Award. One of the most critically acclaimed Hong Kong New Wave filmmakers for four decades, Hui has created work of great sensitivity, focusing on themes of cultural displacement, family conflict, and female perspectives. In her honor, NYAFF will be showcasing her early masterwork, The Story of Woo Viet, starring Chow Yun-fat and marking the film’s 40th anniversary, as well as Man Lim Chung’s insightful, delightful portrait of the inimitable Hui, Keep Rolling. NYAFF also unveiled the six wildly diverse and singular titles nominated for this year’s Uncaged Award for Best Feature Film Competition, which shines a spotlight on first- or second-time directors, celebrating their passion, their vision, and their willingness to take risks. The films are: Anima (Cao Jinling, China), City Of Lost Things (Yee Chih-yen, Taiwan), Hand Rolled Cigarette (Chan Kin Long, Hong Kong), Joint (Oudai Kojima, Japan), Ten Months (Namkoong Sun, South Korea) and Tiong Bahru Social Club (Tan Bee Thiam, Singapore). The winner of the Uncaged Award will be selected by a competition jury comprised of prominent personalities from the film business that bridge Asia and America: Michael Rosenberg (president, Film Movement), Evan Jackon Leong (director, Linsanity, Snakehead) and Janice Chua (VP, International Development and Production at Imagine Entertainment & Television). Following an unprecedented year in which COVID-19 and increased violence against the Asian community in the United States presented enormous challenges, NYAFF is more committed than ever to increasing exposure of Asian representation on screen. The festival is proud to launch a brand-new Asian American Focus, a selection of superlative films made in the US that will kick off in person with Aimee Long’s torn-from-the-headlines thriller A Shot Through the Wall. Members of the filmmaking team will be present. The Asian American Focus will also feature Iman K. Zawahry’s Americanish and Evan Jackson Leong’s Snakehead, with appearances by members of the films’ cast and crew. The selection also includes two new short film showcases of five films each, which will be screened in person and virtually on Eventive. Other festival highlights include the world premiere of the manga-inflected marital comedy Sensei, Would You Sit Beside Me? starring Tasuku Emoto (NYAFF 2018) and Haru Kuroki; and the international premieres of Stanley Tong’s celebration of classic kung-fu, Rising Shaolin: the Protector, with megastar Wang Baoqiang; Lee Woo-jung’s powerful coming-of-age debut, Snowball, starring Bang Min-a from K-Pop girl group Girl’s Day; and Min Kyu-dong’s haunting exploration of AI sentience, The Prayer. And finally, making its North American premiere, Fruit Chan’s Coffin Homes tickles the funny bone and tingles the spine, as soaring real estate prices force people in Hong Kong to share their homes with the dead. For NYAFF’s 20th edition poster, we have drawn from Ko Chen-nien’s The Silent Forest, an image almost tailor-made to represent how we’re feeling as we cautiously emerge from the Covid-19 pandemic: slightly dazed, but laser focused and ecstatic to be back in person at FLC and SVA with this year’s most unforgettable Asian films. NYAFF’s 2021 lineup will include two Japanese world premieres, six international premieres, 29 North American premieres, eight U.S. premieres, and nine New York premieres, showcasing the most exciting action, comedy, drama, thriller, romance, horror, and art-house films from Japan, Hong Kong, China, South Korea, Philippines, Malaysia, Taiwan, Thailand, Kazakhstan, Singapore, and for the first time, Myanmar and the US. LATEST LINEUP (with more to come) (Please note the program is still subject to change.) Titles in bold are newly announced titles in the lineup. OPENING FILM Escape from Mogadishu | dir. Ryoo Seung-wan, South Korea 2021 | International Premiere. In-person Only SPECIAL 20TH ANNIVERSARY CLASSIC SCREENING IN DAMROSCH PARK Dragon Inn AKA New Dragon Gate Inn | dir. Raymond Lee, Hong Hong 1992 | In-person Only ANN HUI TRIBUTE SCREENING - The Story of Woo Viet | dir. Ann Hui, Hong Kong 1981 | 40th anniversary tribute screening. In-person Only UNCAGED AWARD FOR BEST FEATURE FILM The Uncaged competition section shines the spotlight on first- or second-time directors and celebrates their passion, their vision and their willingness to take risks. - Anima | dir. Cao Jinling, China 2021 | North American Premiere. In-person Only - City Of Lost Things | dir. Yee Chih-yen, Taiwan 2020 | North American Premiere. In-person Only - Hand Rolled Cigarette | dir. Chan Kin Long, Hong Kong 2021 | North American Premiere. In-person & Virtual - Joint | Kojima Oudai, Japan 2021 | International Premiere. In-person & Virtual - Ten Months | Namkoong Sun, 2020 | International Premiere. In-person Only - Tiong Bahru Social Club | dir. Tan Bee Thiam, Singapore 2020 | U.S. Premiere. In-person & Virtual ASIAN AMERICAN FOCUS Americanish | dir. Iman K. Zawahry, USA 2021 | In-person Only A Shot Through the Wall | dir. Aimee Long, USA 2021 | In-person Only Snakehead | dir. Evan Jackson Leong, USA 2021 | In-person Only Shorts Showcase, 10 films | In-person and Virtual CROWD PLEASERS Films with broad appeal and titles accessible to all tastes - All U Need is Love | dir. Vincent Kok, Hong Kong 2021 | North American Premiere. Virtual Only - Breakout Brothers | dir. Mak Ho Pong, Hong Kong 2020 | North American Premiere. Virtual Only - The Con-Heartist | dir. Mez Tharatorn, Thailand 2020 | North American Premiere. Virtual Only - From Today, It's My Turn!! | dir. Yuichi Fukuda, Japan 2020 | U.S. Premiere. Virtual Only - Hold Me Back | dir. Akiko Ohku, Japan 2020 | U.S. Premiere. Virtual Only - jigoku-no-hanazono: Office Royale | dir. Kazuaki Seki, Japan 2021 | North American Premiere. In-person Only - My Missing Valentine | dir. Chen Yu-hsun, Taiwan 2020 | New York Premiere. Virtual Only - One Second Champion | dir. Chiu Sin-Hang, Hong Kong 2020 | New York Premiere. Virtual Only - Tonkatsu DJ Agetaro | dir. Ken Ninomiya, Japan 2020 | North American Premiere. Virtual Only - Zero to Hero | dir. Wan Chi-Man, Hong Kong 2021 | North American Premiere. In-person Only GENRE MASTERS Innovative new work that tweaks and twists genre conventions - Coffin Homes | dir. Fruit Chan, Hong Kong 2021 | North American Premiere - The Fable: The Killer Who Doesn't Kill | dir. Kan Eguchi, Japan 2021 | North American Premiere. In-person Only - Last of The Wolves | dir. Kazuya Shiraishi, Japan 2021 | North American Premiere. In-person Only - Limbo | dir. Soi Cheang, Hong Kong, 2021 | North American Premiere. In-person Only - Midnight | dir. Kwon Oh-seung, South Korea 2021 | International Premiere. Virtual Only - The Prayer | dir. Min Kyu-dong, South Korea 2021 | International Premiere. Virtual Only - Rising Shaolin: the Protector | dir. Stanley Tong, China, Hong Kong 2021 | International Premiere. Virtual Only - Sweetie, You Won’t Believe It | dir. Yernar Nurgaliyev, Kazakhstan 2020 | North American Premiere. Virtual Only NEXT/NOW Highlighting emerging voices and promising works by up-and-coming directors - Here And There | dir. JP Habac, Philippines 2021 | North American Premiere. In-person & Virtual - Keep Rolling | dir. Man Lim Chung, Hong Kong 2020 | New York Premiere. Virtual Only - Money Has Four Legs | Maung Sun, Myanmar 2020 | North American Premiere. Virtual Only - The Old Town Girls | dir. Shen Yu, China 2020 | North American Premiere. Virtual Only - Shadows | dir. Glenn Chan, Hong Kong 2020 | North American Premiere. Virtual Only - Snowball | dir. Lee Woo-jung, South Korea 2021 | International premiere. In-person Only - Time | dir. Ricky Ko, Hong Kong 2021 | North American Premiere. Virtual Only. BEYOND BORDERS Films that tell stories about characters confronting different cultures - The Asian Angel | dir. Yuya Ishii, Japan 2021 | North American Premiere. In-person Only - Fighter | dir. Jéro Yun, South Korea 2020 | North American Premiere. Virtual Only - Nasi Lemak 1.0 | dir. Namewee, Malaysia 2021 | International Premiere. TBD - A Song for You | dir. Dukar Tserang, China 2020 | North American Premiere. In-person Only FRONTLINES Films grounded in the lives of those in marginalized communities, with narratives that examine pressing issues - Babi | dir. Namewee, Malaysia 2020 | North American Premiere. TBD - A Balance | dir. Yujiro Harumoto, Japan 2020 | North American Premiere. In-person Only - I Don't Fire Myself | dir. Lee Tae-Gyeom, South Korea 2020 | North American Premiere. Virtual Only - Ninja Girl | dir. Yu Irie, Japan 2021 | World Premiere. In-person Only - The Silent Forest | dir. Ko Chen-nien, Taiwan 2020 | New York Premiere. Virtual Only - Three Sisters | dir. Lee Seung-won, South Korea 2020 | North American Premiere. Virtual Only - Tough Out | dir. Xu Hui-jing, China 2020 | North American Premiere. Virtual Only - The Way We Keep Dancing | dir. Adam Wong, Hong Kong 2020 | New York Premiere. Virtual Only STANDOUTS Exceptional films, regardless of their premiere status __ - Blue | dir. Keisuke Yoshida, Japan 2021 | U.S. Premiere. Virtual Only - The Book of Fish | dir. Lee Joon-ik, South Korea 2021 | International Premiere. In-person Only - A Leg | dir. Chang Yao-sheng, Taiwan 2020 | US Continental Premiere. In-person & Virtual - Samjin Company English Class | dir. Lee Jong-pil, South Korea 2020 | New York Premiere. In-person & Virtual - Under the Open Sky | dir. Miwa Nishikawa, Japan 2020 | New York Premiere. In-person Only VANGUARDS Original films that break away from formalistic and/or narrative conventions - As We Like It | dir. Muni Wei, Chen Hung-i, Taiwan 2021 | East Coast Premiere. Virtual Only - Barbarian Invasion | dir. Tan Chui Mui, Malaysia 2021 | North American Premiere. In-person Only - Junk Head | dir. Takahide Hori, Japan 2021 | U.S. Premiere. In-person Only - Over the Town | dir. Rikiya Imaizumi, Japan 2021 | U.S. Premiere. Virtual Only - Sensei, Would You Sit Beside Me? | dir. Takahiro Horie, Japan 2021 | World Premiere. In-person Only - Zokki | dir. Naoto Takenaka, Takayuki Yamada, Takumi Saitoh, Japan 2021 | North American Premiere. Virtual Only NOTES TO EDITOR: Please send all NYAFF press inquiries to: Stevie Wong, stevie.wong@nyaff.org (Viewing links for key films are available by request) LINK TO STILLS LINK TO FESTIVAL LOGO LINK TO POSTER ABOUT ANN HUI, VARIETY LIFETIME ACHIEVEMENT AWARD HONOREE Born in Liaoning province, northeastern China, but raised in Hong Kong, legendary director, producer and screenwriter Ann Hui is one of the most critically acclaimed Hong Kong New Wave filmmakers. She made her feature debut with The Secret in 1979, which won the Golden Horse Award for Best Feature Film. She went on to create such indelible titles as The Story of Woo Viet (1981), Boat People (1982), Song of the Exile (1990), Ordinary Heroes (1999), The Way We Are (2008), Night and Fog (2009), A Simple Life (2011), The Golden Era (2014), Our Time Will Come (2017) and Love After Love (2020). Over the course of a four-decade career, Hui has won numerous awards for her films, including the Golden Horse Award (GHA) for Best Director three times (1999, 2011, 2014) and Best Director at the Hong Kong Film Awards six times (1983, 1996, 2009, 2012, 2015, 2018). In 2020, she was the first female director to be honored with the Golden Lion Lifetime Achievement Award at the Venice Film Festival. Hui served as the president of the Hong Kong Film Director's Guild from 2004 to 2006. In 2007, she was invited to become a member of the Academy of Motion Picture Arts and Sciences (AMPAS). NYAFF 2021 VENUES/VIRTUAL PLATFORM Virtual platform: Film at Lincoln Center (FLC) Virtual Cinema, August 7 - 22, 2021 In-person venues: Film at Lincoln Center (FLC), August 6 - 8, 2021 Walter Reade Theater, 165 West 65th Street SVA Theatre: August 9 - 22, 2021 333 West 23rd Street NYAFF TICKET PRICING AND INFO: Tickets for the 20th New York Asian Film Festival go on sale Friday, July 23 at noon. Virtual tickets & passes: $12 each for general public, $9.60 for FLC members (discounted ticket) for all virtual titles. $150 discounted FLC All-Access Pass for all virtual titles. In-person tickets & passes: In-person single tickets (for both FLC and SVA): $15 each for general public, $12 for students / seniors (62+) /persons with disabilities; $10 for FLC members (discounted tickets). In-person Passes: $60 for 6 films at FLC only (six-film FLC All-Access Pass). $250 for an in-person pass for screenings at the SVA Theatre. For additional information, please visit Film at Lincoln Center at filmlinc.org, New York Asian Film Festival at nyaff.org, and follow us on social media @filmlinc and @nyaff. ABOUT NEW YORK ASIAN FILM FESTIVAL (NYAFF) Now in its 20th year, the New York Asian Film Festival (NYAFF) is North America’s leading festival of popular Asian cinema, which The Village Voice has called “the best film festival in New York,” and The New York Times has called “one of the city’s most valuable events.” Launched in 2002, the festival selects only the best, strangest, and most entertaining movies to screen for New York audiences, ranging from mainstream blockbusters and art-house eccentricities to genre and cult classics. It was the first North American film festival to champion the works of Johnnie To, Bong Joon-ho, Park Chan-wook, Takashi Miike, and other auteurs of contemporary Asian cinema. Since 2010, it has been produced in collaboration with Film at Lincoln Center. For more information, visit: New York Asian Film Festival Instagram Facebook Twitter, #nyaff2021 THE NEW YORK ASIAN FILM FOUNDATION The New York Asian Film Foundation Inc. is America’s premier 501(c)(3) nonprofit organization dedicated to the exhibition and appreciation of Asian film culture in all its forms, with year-round festivals and programs, and a view to building bridges between Asia and America. The New York Asian Film Foundation’s flagship event is the annual New York Asian Film Festival (NYAFF), which has been presented in collaboration with Film at Lincoln Center since 2010. Now entering its 20th year, NYAFF is North America’s leading festival of Asian cinema. The Foundation’s other events and initiatives include special screening events and an annual Winter Showcase at the SVA Theatre. The New York Asian Film Festival, a program of the New York Asian Film Foundation, is made possible in part by the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature. The following films are presented with the support of: HONG KONG ECONOMIC AND TRADE OFFICE IN NEW YORK: All U Need is Love, Breakout Brothers, Coffin Homes, Keep Rolling, Limbo, Dragon Inn AKA New Dragon Gate Inn, One Second Champion, Shadows, The Story of Woo Viet, Time, The Way We Keep Dancing, Zero to Hero. TAIPEI CULTURAL CENTER OF TECO IN NEW YORK: As We Like It, A Leg, My Missing Valentine, The Silent Forest. KOREAN CULTURAL CENTER NEW YORK: The Book of Fish, Fighter, Escape from Mogadishu, I Don't Fire Myself, Midnight, The Prayer, Ryuk-sa: A Teaser (short), Samjin Company English Class, Three Sisters. JAPAN FOUNDATION NEW YORK: The Asian Angel, A Balance, Blue, The Fable: The Killer Who Doesn't Kill, From Today, It's My Turn!!, Hold Me Back, jigoku-no-hanazono: Office Royale, Junk Head, Last of The Wolves, Ninja Girl, Over the Town, Sensei, Would You Sit Beside Me?, Tonkatsu DJ Agetaro, Under the Open Sky, Zokki. New York Asian Film Festival Media Partners: Variety FILM AT LINCOLN CENTER Film at Lincoln Center is dedicated to supporting the art and elevating the craft of cinema and enriching film culture. Film at Lincoln Center fulfils its mission through the programming of festivals, series, retrospectives, and new releases; the presentation of podcasts, talks, and special events; and via its artist initiatives. Since its founding in 1969, this nonprofit organization has brought the celebration of American and international film to the world-renowned Lincoln Center arts complex, making the discussion and appreciation of cinema accessible to a broad audience and ensuring that it remains an essential art form for years to come. ALIEN ON STAGE, DIRECTED BY LUCY HARVEY*** When ordinary working class folk with divergent personalities take their stage show with the silliest plot from the dull life of Dorset, England to London's West End theatre district, lifelong dreams become true for this humble lot of thespians. It's a charming piece that puts their collective pipe dream on the stage. It warms the heart to watch the ordinary become extraordinary.   LOST BOYS, directed by  Sadri Cetinkaya & Joonas Neuvonen ****    It's just so sad to see two bros descend into hell because of drugs. South East Asia has claimed the life of one brother gone missing. Joonas travels bravely to find out what happened to his friend. It's described as a  related sequel to sequel to Reindeerspotting. A Quebec premiere that's terribly human and frightening. It's depressing and compelling.   SWEETIE, YOU WON'T BELIEVE IT, directed by Emar Nurgaliev * This is a fishing trip gone terribly wrong. Good friends game for adventure are pursued by a rather clumsy gangster, but things really turn dangerous when a psycho killer makes sure they never catch a fish to bring home. They call it a comedy, but I found it a dark badly edited unfunny film to say the least. THE ASIAN ANGEL, Directed by Yuyia Ishii ***** Brilliant, moving and surreal with a touch of the divine. A Japanese young father, Tsuyoshi Aoki (Sosuke Ikamatsu) is an introverted novelist who travels from South Korea with Manabu, his little mute son to stay with his brother, now living a Korea and basically failing at his illegal cosmetic imports. In the shopping centre one day, is cast under the spell of a lovely singer named Seol ( Choi Hee- Seo) Her life is full of sadness and despair when her manager drops her and only is using her for sex.  Her brother decides they should go to visit their parents’ grave. On the train to a far-off province on the way to start an own business to import seaweed,Tsuyoshi meets her. His son has wandered off and she spots him and brings him back to his mommy on the train. But there is no mother. She died long ago. Lots of road and train travel. The movie is fraught with terrible bad luck. But the Japanese and the Korean characters with their overt conflicts becoming  great friends.  Was it the beer or the need for each other or both?An angel really does figure in the movie, and the budding falling in love of the two protagonists is so restrained and developmental. The ending is typically reserved, but we know what will happen.  The film needs no angel at all in the plot, though it adds mystery. The film lags, but still compels us. It is about loss, refinding one’s way again and love. Superb ensemble acting! MONEY HAS FOUR LEGS, directed by Maung Sun ***   Wai Bhone, a budding artistic film director is going nowhere with his scumbag producer except into poverty. His wife and daughter leave him and his future is bleak.  With his brother they decide to steal a bank’s money laundering notes before the bankruptcy notice happens at the bank. But big brother is bad brother and takes off with the money. He has amnesia after a hit and run accident and suddenly after a dream he remembers where he put the money. It’s in the trunk of a car that is just leaving from his mechanic’s shop. Both brothers chase that car down, but without giving away the spoiler, this is a case of a terrible trunk mistake. Lots of subplots here that at least end with Boone getting back his film director job on his own script.  However, it seems money and cars can't get their act together. . A cute comedy from Myanmar   JOINT, Directed by Oudai Kojima****   This suspenseful moody yet violent film pits the Japanese clans against one another. The protagonist, an ex-yakuza convict wants to start a new life for himself and ends up investing in buildings. But things go bad.  He starts small upon his release from prison gathering lists of people to scam using burner phones, but the money goes to immigrants in Japan in great need of money. The film is confusing but really scary as it gives insights into the digital age of smart phones used by rings of smart scammers. These con men gather dense information on naïve but wealthy people and targets them reaping oodles of money. Like a film noir, it leaves you thinking that living with no tech si the way to go and definitely stay away from Japan.