{"id":118168,"date":"2024-04-27T16:18:45","date_gmt":"2024-04-27T15:18:45","guid":{"rendered":"http:\/\/gamefootballmobileanimeiphone.com\/?guid=4b13cee95e4575d93b4a942828bae6d6"},"modified":"2024-04-27T16:18:45","modified_gmt":"2024-04-27T15:18:45","slug":"building-community-through-creativity-queer-east-film-festival-comes-of-age","status":"publish","type":"post","link":"https:\/\/gamefootballmobileanimeiphone.com\/index.php\/2024\/04\/27\/building-community-through-creativity-queer-east-film-festival-comes-of-age\/","title":{"rendered":"Building community through creativity, Queer East Film Festival comes of age"},"content":{"rendered":"
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O<\/span>n the opening night of Queer East Film Festival<\/a>\u2019s fifth edition, I can see faces old and new from the past few years as we gather for A Song Sung Blue at the Barbican, a coming-of-age film set in Harbin in China exploring a younger teenage girl Xian\u2019s infatuation with Mingmei, a modern femme fatale. The festival director, Yi Wang, says, \u201cI felt like this was the perfect opening film, as it reflects our current state, as Queer East is also in its coming-of-age.\u201d The debut film led by a female team \u2013 director Zihan Geng and Jiayue Hao creates the dreamy but gritty atmosphere of Harbin in the noughties \u2013 hazy sheer images like a curtain billowing across the lens.<\/p>\n

After the film, I overheard a white person say they wished there was more \u201cspitting on pussy\u201d action, however, the fact that there is even a kiss between two women is a transgressive feat under Chinese film censorship. Moreover, most of the queer films produced in China concern male experiences, so to see a film by a female filmmaker about girlhood is particularly considered, and Yi notes that the festival \u201cis intent on showing more femme experiences and to expand the scope of what we imagine as a queer Asian film.\u201d<\/p>\n

Part of Queer East\u2019s coming-of-age is reflected in its first-ever contemporary arts exhibition, \u2018shedding:::selves\u2019, curated by April Lin \u6797\u68ee and Aki Hassan which fittingly explores the painful, strange, and freeing experiences of self-transformation with works by eight artists across sculpture, video installation, photography, live performance, sound and more. A personal moving-image work by Xinyu XuXX is particularly moving and embraces the uncanny \u2013 the filmmaker\u2019s cut-out childhood photograph floats through rivers, ceilings, and inflatable materials in a ghostly state of wandering.<\/p>\n

Lin \u6797\u68ee has been part of Queer East from the inception of the festival, and this year they are presenting a screening that transcends the cinema screen \u2013 \u2018Steamy Intimacies\u2019, co-organised with Jeng Au at Hackney Wick Community Sauna Baths. Lin \u6797\u68ee presents \u201ca double bill that features water as a mediator of nascent queer intimacy and desire\u201d, followed by a sauna experience. Both films Who Can Predict What Will Move You and Spa Night explore the undercurrents of teenage desire, lingering on loaded gazes and momentary embraces. They explain, \u201cIt’s such a pleasure to have the chance to expand the screening experience into an event so oriented around the communal and the sensory, especially in this age of video streaming platforms. My friend June also said it’s a great combination of my Swedish and Cantonese\/Chinese heritage, which I love and now cannot unsee.\u201d<\/p>\n

Countering an often-misconstrued idea of linear \u2018progress\u2019 in queer cinema, Queer East instead reveals how the archival works may offer the most radical imagination of queer futures. The closing film Bye Bye Love is a nouvelle-vague-influenced counterculture road film that explores a genderfluid relationship between its two protagonists beyond the strictures of identity categories. Yi says, \u201cThe film shows what an ideal queer world is like \u2013 how the way the two protagonists in the film just don\u2019t fucking care.\u201d<\/p>\n

The film was thought to be lost until 2018 when it was found in a warehouse and director and producer Suzuki Akihiro restored the negative and made a new print. The history of its rediscovery prompts the question of how queer films get \u2018lost\u2019 to begin with \u2013 indicative of how queer history has been discarded by cultural institutions. During the print\u2019s restoration, the damage from neglect meant that it required more painstaking work so its rediscovery marks a parallel story of queer resistance. Films are not merely \u2018forgotten\u2019, and when we hear of their \u2018rediscovery\u2019, we must ask how cultural institutions engendered this loss, and what that means for the lineage of political cinematic history.<\/p>\n<\/div>\n

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Another historical gem was A Princess\u2019 One-Sided Love, a 1967 costume drama made by and starring the third-ever female director of South Korea, Choi Eun-hee. A loose adaptation of Shakespeare\u2019s Twelfth Night, A Princess\u2019 One-Sided Love cleverly takes the cross-dressing trope to examine class and gender hierarchies faced by Princess Suk-gyeong. Choi delivers a magnetic performance \u2013 variably impish, coy, na\u00efve, snobby and sentimental. Choi acted in more than 50 films a year at one point in her illustrious career in South Korea, and met an equally dramatic turn in her life \u2013 kidnapped by the dictator Kim Jong-il in North Korea, who allegedly loved cinema and forced Eun-hee to make films for him alongside her ex-husband Shin Sang-ok.<\/p>\n

This year, the festival is exhibiting many of its classic films on print \u2013 both Summer Vacation 1999 by Shusuke Kaneko and the rom-com classic Saving Face by Alice Wu. It feels rare to see a queer film on print as a physical material of history, and both screenings were met by a joyous full house. Personally, it was a joy to see Tsai Ming Liang\u2019s The River in the cinema, a filmmaker whose work is so haptic that it demands to be felt with others. As I looked around the packed cinema \u2013 with some audience members sitting along the stairs \u2013 I could see members of the audience reaching their hands towards their neck, as we watched Lee Kang-Sheng\u2019s neck twitch convulsively. We moved like a collective body.<\/p>\n

Maybe the theme of this year\u2019s festival is the sensorial \u2013 artist Bart Seng Wen Long\u2019s programme \u2018High Hands Small Hands\u2019 explores the effect of BDSM where the audience could choose to participate in rope play during the screening. Long says \u201cI wanted to do something that is spontaneous, has a high chance of failing and demands from the audience the opposite of understanding. With that in mind, the interactive elements come naturally as an extension of my interest in bondage, which is something I find really visceral.\u201d The programme brings together moving-image works that play on the corporeal and digital including artists Fuyuhiko Takata, E8 and Long\u2019s own work.<\/p>\n

This year, what\u2019s particularly striking is the many voices on curatorial display, with 12 guest curators (including me!) bringing their own interests to the screen. \u201cI don’t really like the idea of \u2018we are curators, we are one voice, we need to control a narrative\u2019. Especially when we are talking about the East and Southeast Asian region. It\u2019s like 20+ countries, 20+ languages, and 20+ different cultures. I like having a decentralised model with many voices.\u201d Yi says. \u201cEvery curator brought their own knowledge and expertise to the festival.\u201d<\/p>\n

The shorts programmes were variously gentle and provocative. \u2018Glitch! Rewind. Then we\u2026\u2019 plays with ideas around the repetitive and rewinding motions of the \u2018glitch\u2019. These works play with an inherent \u2018corruption\u2019 of the original source that encourages rewritings and re-interpretations. In a way, it\u2019s like the movement of diasporic communities \u2013 holding onto an idea of what the homeland looks like while moving away to re-imagine it.<\/p>\n

When Yi and I first met last year, we also developed a critics mentorship programme, with Phuong Le and Ian Wang as the brilliant mentors. I was reminded of the reasons we write \u2013 something that feels so solitary becomes a pleasure through insightful discussions \u2013 Phuong debunked the idea that criticism is primarily a white sport \u2013 elaborating on the works of Edogawa Rampo, Jun’ichir\u014d Tanizaki, and Mani Kaul, while Ian examined the problematic term \u2018rediscovery\u2019 when referring to non-Western filmmakers.<\/p>\n

\u201cOn a personal note, I came as an immigrant 10 years ago and it was a difficult atmosphere to start working in arts and culture,\u201d Yi explains. \u201cEspecially for someone whose first language isn\u2019t English and doesn\u2019t have networks in the industry. I really hope this festival can be a platform for artists, young curators and writers to get their first step.\u201d Queer East is maybe coming-of-age in a more intentional way than most \u2013 avoiding the awkward falls and teenage self-indulgence on the way, and instead paves a path that is luminous and centred in community-building.<\/p>\n<\/div>\n<\/div>\n

The post Building community through creativity, Queer East Film Festival comes of age<\/a> appeared first on Little White Lies<\/a>.<\/p>\n\n

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Guest curator Cici Peng reflects on the remarkably programming on offer at the fifth edition, offering a mixture of screenings and immersive events that shift ideas of what a festival can be.<\/p>\n

The post Building community through creativity, Queer East Film Festival comes of age<\/a> appeared first on Little White 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