The rest of Asia headed into the new decade quite unsure of itself. Reeling from the Asian financial crisis of the late nineties, the movie industry was not exactly in tip top shape. While the movie industries of South Korea flourished, old established titans of the Asian movie scene were beginning to crumble. The unfortunate casualty of the decade of the new milennium was Hong Kong. A steady decline in production from the mid nineties, combined with overproduction of films, piracy and the threat of Hollywood dealt a blow that sent the industry reeling. By 2003, the Hong Kong movie industry was on life support.
Directors then went to mainland China where they found a new home in the burgeoning economy, although strict government censorship would hinder their expression. In China, directors from there would make large scale epics of their own, but most indie directors would turn to small productions. Documentary films would find a trend among filmmakers in this decade.
Thai Cinema would also experience a kind of resurgence during this decade. The Pang Brothers made a couple of great films in the country, including The Eye and Bangkok Dangerous. (They would continue making films in the country as brothers or as solo directors.) Thailand also rode the Asian Horror wave with films like Bangkok Haunted or Shutter. Tony Jaa introduced a kinetic style of film with Ong Bak, starting a string of films showcasing Muay Thai and the skills and bravery of Thai Stuntmen.
Aside from mainstream fare, Thai New Wave directors gained acclaim in the international film circuit. Rataranuang's Invisible Waves and Last Life in the Universe were astounding films, as well as Weerasethakul's Syndromes and a Century and Uncle Boomee, the latter of which won big at Cannes.
The Philippines continued to languish a bit into the 2000s; but the rise of digital film made it possible for independent directors to gain a voice. While the Metro Manila Film Festival remained the sole hallmark of the commercial side of the film industry, independent filmmakers founded the Cinemalaya Film Festival as a showcase of their own creative work.
Malaysia would find talented directors and interesting films like Sepet, Indonesia would continue on its own, from horror fare to superhero films to sex comedies with sex symbols like Maria Ozawa. India would continue chugging along its huge movie industry; slick production values (and better choreography?) would improve movie quality. Vietnam, while mostly in the shadows, would gain notice with films like Muoi, a co-production with Korea. And the list goes on.
My personal favorites from Asia in the past decade (+1) were:
Green Tea - A little-known romantic movie from mainland China. Gorgeous to look at (thanks to Christopher Doyle,) great performances from the actors. Surprisingly it's one of my all-time favorites.
In the Mood for Love - You don't see him that much these days, but Wong Kar Wai's best is arguably this film, a quiet treatise on love that expresses its intense emotions beneath a seemingly placid exterior.
Hero - another mainland Chinese film that stars Hong Kong actors (sadly after HK cinema started to decline.) It started a wave of similar big budgeted Chinese epics, directed by both Hong Kong and Chinese directors and starring both Hong Kong and mainland Chinese actors, like House of Flying Daggers, The Promise and Red Cliff.
2046 - Although a lesser film than its predecessor, this follow-up to In the Mood for Love echoes the themes and sentiments of his previous films up to that point. He would direct only one more full film, My Blueberry Nights, before taking years on his latest film, The Master, based on the life story of Ip Man.
Last Life in the Universe - Thai cinema has been experiencing something of a resurgence this past decade. Pen-ek Rataranuang's offering, Last Life in the Universe is a strange and quirky film about how two people end up completing each other in more ways than one.
Infernal Affairs (Trilogy) - In the muck that was Hong Kong Cinema in the first decade of the millennium, a few movies stood out and proved to be classics of the genre. This trilogy was definitely one of the crowning works of that time. While the first is definitely the lynchpin of the series, it is the second film that expands upon the universe established by the first and gives it a whole new level of depth.
Shaolin Soccer - Stephen Chow has always made comedy movies in his long career. It's this one, however, that placed the international eye on him. His later, successful followup, Kung Fu Hustle, was also a big hit in Asia.
Ong Bak - Yeah yeah I know, this film has an overly simplistic plot that meanders too much (at least in the original Thai release,) and nothing much going on in the acting department. But DAMN my friend, it delivers action in spades and made Tony Jaa a star. That is, until the stresses of making Ong Bak 2 and 3 pushed him into monasticism. No joke. Will he make a comeback once everything is sorted out? and will the world remember him upon his return?
Engkwentro - I've seen my share of Filipino movies over the past ten years, and with all the mainstream dreck, indie stuff and miscellaneous gunk we produce, this movie stood out in particular for me. Clever editing, and superb acting from actors and non-actors alike make this film what it is.
special mention: Sha Po Lang, Ip Man, Tribu
Directors then went to mainland China where they found a new home in the burgeoning economy, although strict government censorship would hinder their expression. In China, directors from there would make large scale epics of their own, but most indie directors would turn to small productions. Documentary films would find a trend among filmmakers in this decade.
Thai Cinema would also experience a kind of resurgence during this decade. The Pang Brothers made a couple of great films in the country, including The Eye and Bangkok Dangerous. (They would continue making films in the country as brothers or as solo directors.) Thailand also rode the Asian Horror wave with films like Bangkok Haunted or Shutter. Tony Jaa introduced a kinetic style of film with Ong Bak, starting a string of films showcasing Muay Thai and the skills and bravery of Thai Stuntmen.
Aside from mainstream fare, Thai New Wave directors gained acclaim in the international film circuit. Rataranuang's Invisible Waves and Last Life in the Universe were astounding films, as well as Weerasethakul's Syndromes and a Century and Uncle Boomee, the latter of which won big at Cannes.
The Philippines continued to languish a bit into the 2000s; but the rise of digital film made it possible for independent directors to gain a voice. While the Metro Manila Film Festival remained the sole hallmark of the commercial side of the film industry, independent filmmakers founded the Cinemalaya Film Festival as a showcase of their own creative work.
Malaysia would find talented directors and interesting films like Sepet, Indonesia would continue on its own, from horror fare to superhero films to sex comedies with sex symbols like Maria Ozawa. India would continue chugging along its huge movie industry; slick production values (and better choreography?) would improve movie quality. Vietnam, while mostly in the shadows, would gain notice with films like Muoi, a co-production with Korea. And the list goes on.
My personal favorites from Asia in the past decade (+1) were:
Green Tea - A little-known romantic movie from mainland China. Gorgeous to look at (thanks to Christopher Doyle,) great performances from the actors. Surprisingly it's one of my all-time favorites.
In the Mood for Love - You don't see him that much these days, but Wong Kar Wai's best is arguably this film, a quiet treatise on love that expresses its intense emotions beneath a seemingly placid exterior.
Hero - another mainland Chinese film that stars Hong Kong actors (sadly after HK cinema started to decline.) It started a wave of similar big budgeted Chinese epics, directed by both Hong Kong and Chinese directors and starring both Hong Kong and mainland Chinese actors, like House of Flying Daggers, The Promise and Red Cliff.
2046 - Although a lesser film than its predecessor, this follow-up to In the Mood for Love echoes the themes and sentiments of his previous films up to that point. He would direct only one more full film, My Blueberry Nights, before taking years on his latest film, The Master, based on the life story of Ip Man.
Last Life in the Universe - Thai cinema has been experiencing something of a resurgence this past decade. Pen-ek Rataranuang's offering, Last Life in the Universe is a strange and quirky film about how two people end up completing each other in more ways than one.
Infernal Affairs (Trilogy) - In the muck that was Hong Kong Cinema in the first decade of the millennium, a few movies stood out and proved to be classics of the genre. This trilogy was definitely one of the crowning works of that time. While the first is definitely the lynchpin of the series, it is the second film that expands upon the universe established by the first and gives it a whole new level of depth.
Shaolin Soccer - Stephen Chow has always made comedy movies in his long career. It's this one, however, that placed the international eye on him. His later, successful followup, Kung Fu Hustle, was also a big hit in Asia.
Ong Bak - Yeah yeah I know, this film has an overly simplistic plot that meanders too much (at least in the original Thai release,) and nothing much going on in the acting department. But DAMN my friend, it delivers action in spades and made Tony Jaa a star. That is, until the stresses of making Ong Bak 2 and 3 pushed him into monasticism. No joke. Will he make a comeback once everything is sorted out? and will the world remember him upon his return?
Engkwentro - I've seen my share of Filipino movies over the past ten years, and with all the mainstream dreck, indie stuff and miscellaneous gunk we produce, this movie stood out in particular for me. Clever editing, and superb acting from actors and non-actors alike make this film what it is.special mention: Sha Po Lang, Ip Man, Tribu
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