3/17 (Sun) vol.2
Award & Closing Ceremony

OAFF 2019 Award Ceremony with the Japanese Premiere of Vietnamese Comedy “Daddy Issues”

Thanks to your enthusiastic support, the Osaka Asian Film Festival 2019 held the closing ceremony and announced the award winners on March 17th.

《OSAKA ASIAN FILM FESTIVAL 2019 Award Winners》

"Still Human" (淪落人)

Hong Kong | Director: Oliver Siu Kuen CHAN (陳小娟)

"2923"

Taiwan｜Director: Sunny YU (于瑋珊)

"till next time" (楔子)

Taiwan｜Director: Paulie HUANG Chih-Chia (黄芝嘉)

Instead of the director Paulie HUANG Chih-Chia, Mr. LIU Guolong (center), director of culture and education at Taipei Economic and Cultural Office in Osaka, received the award.

"WHOLE"

Japan｜Director: KAWAZOE Bilal (川添ビイラル)

KAWAZOE Bilal said, “My heart is pounding fast. I would like to thank friends, family and OAFF for this opportunity to screen our film.”

"Demolition Girl" (JKエレジー)

Japan｜Director: MATSUGAMI Genta (松上元太)

MATSUGAMI Genta said, “I am now based in Tokyo but my first film was made here in Osaka while I was in college. 18 years have passed since then and I am very moved to be back here in Osaka for this occasion and to receive this award. I look forward to making another film in Osaka.”

Nilmini SIGERA

Sri Lanka｜“Asandhimitta” Actress

Nilmini SIGERA said, “I am proud to be a Sri Lankan and this is our Sri Lankan film, shown at the Osaka film festival for the second time and this is my first appearance in the cinema. I’m so happy to be here.”

"Aruna & Her Palatel"

Indonesia｜Director: Edwin

Instead of the director Edwin, Mr. Mirza NURHIDAYAT (right), Indonesian Consulate General Osaka, received the award.

"Bulbul Can Sing"

India｜Director: Rima DAS

Jury Comment on “Bulbul Can Sing”:

For the organic development of characters’ growth as the teenagers come to terms with their identities, an honest, gripping and personal take on a young woman’s experience in rural India, the Special Mention goes to “Bulbul Can Sing” by Rima DAS”.

HAN Ka-ram

Korea｜“Our Body” Director

Jury Comment on HAN Ka-ram:

For its mature and multi-layered exposition of a young woman’s agency and control of her body as she navigates the pressures and expectations of upper middle-class society while examining the unlikeable sides of herself with tenderness and truth, special mention goes to HAN Ka-ram, writer and director of “Our Body”.

HAN Ka-ram said, “I was very encouraged by the enthusiastic response from the Osaka audience. I would like to thank them very much. My staff were asking when I would be able to receive a prize and I have now received a prize at this festival so I am very excited and grateful to all of you. Thank you.”

BAI Xue (白雪)

China｜“The Crossing”(過春天) Director

Jury Comment on “The Crossing”(過春天) :

For its riveting portrayal of the borders, geographical, political and personal, within and outside ourselves, while getting lost in the unknowns of growing up in a multi-cultural society while utilising traditional narrative structures with a fresh perspective, the Most Promising Talent award goes to BAI Xue, the director of “The Crossing”(過春天).

"Maggie"

Korea | Director: YI Ok-seop

Jury Comment on “Maggie” :

For its innovative way of storytelling and for its ability to portray abstract and complicated concepts with ease and whimsy, the Grand Prix goes to “Maggie”.

YI Ok-seop took to the stage with KOO Kyo-hwan, her film’s producer and lead actor, and said: “I finished my first question and answer session just before this closing ceremony and I’m really honoured to receive this Grand Prix from the festival. Actually, the title of the film is “Maggie”, which, when written in hangul, has two similar pronunciations in spoken Korean, “maggie”,which means catfish, and “mejik” which means magic. I certainly feel like magic has fallen on me because I have received this great prize. Thank you so much.”

Closing Film “Daddy Issues”

Director: OCHIAI Ken (落合賢)

Following the ceremony, the closing film “Daddy Issues”, directed by OCHIAI Ken (落合賢), was given its Japan Premiere. OCHIAI Ken made an appearance on stage and explained how the film is based upon the novel, “Papa to Musume no Nanokakan” (パパとムスメの７日間) by IGARASHI Takahisa (五十嵐貴久) and how he changed the setting from Japan to Vietnam and made it contemporary.

He went on to explain how Hoi Chi Minh and Hanoi city are like Tokyo and Osaka. Hoi Chi Minh, in the south, has a similar reputation for humour like Osaka and he wanted Japanese subtitles written in Kansai dialect but he found that when writing the subtitles in the dialect there were more characters than normal, so he gave up.

He asked the audience to imagine the people on screen speaking in Kansai dialect while watching the film. His last point was to elaborate on the theme of the film, the deep love between a father and daughter and how he wanted the audience to share in it.

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