19th January 2019 – 23rd January 2019
Why Arthouse ?
Arthouse Asia is an annual breeding space of independent filmmakers. Over the years independent filmmaking has changed a lot, Asian independent filmmaking market is increasing steadily. The Past has taught us “United we stand, divide we fall”.
Arthouse Asia is an effort to unite worldwide independent filmmakers in a single platform. We know the path is not an easy way but we believe independent filmmaking is the true way of practicing art through filmmaking medium. The studio system is a money generating system, it does not allow experimentation as it always tends to follow the already established monetary model.
So we believe independent filmmaking is the future of filmmaking.
Award Winners 2019
Race for Golden Wood
To Be Declared
23rd January 2018
What else with Official Selection ?
We are looking for independent content originated across the world in any languages. All the official selections will be screened during the fest in front of the prolific liberal audience from the oldest cosmopolitan city of Asia.
The winning films will be awarded the prestigious “Golden Wood Award”. These films will be introduced and marketed at various Asian Film Markets by Arthouse World Network if opted.
Every audience will be requested to fill up a feedback form and all the filled up forms will be sent to the filmmakers as we know it matters a lot for them.
And last but not the least all the winning films will go on a multi-city tour throughout the Indian Subcontinent. It is an effort to give maximum exposure to all the winning films and creating niche audience of Arthouse Films Across Asia.
Official Selections 2019
– Fiction Feature –
- The Real Film Is Elsewhere by Mark John Ostrowski :: Spain
- All Eyes on You by Felix Maxim Eller :: Germany
- KUPAL by Kazem Mollaie :: Iran
- Octav by Serge Ioan Celebidachi :: Romania
- MODERN LOVE by Takuya Fukushima :: Japan
- Ghost Box Cowboy by John Maringouin :: USA
- The Cloud Boat by Mrittika Goon :: Bangladesh
- Long Time No Sea by Heather Tsui :: Taiwan
– Documentary Feature –
- Last Exit to Kai Tak by Matthew Torne :: Hong Kong, UK
- Louis Kahn’s Tiger City by Sundaram Tagore :: Bangladesh,India
- JAAR, lament of the images by Paula Rodríguez :: Chile
- Badiou by Gorav Kalyan :: USA
- The Moving Tent by Singing CHEN :: Taiwan
- Journey to Hope by Anita Kruse :: USA
- Day 32 by Andre Valentim Almeida :: Portugal
- Aquagranda In Crescendo by Giovanni Pellegrini :: Italy
– Fiction Short –
- Home by Aleksander L. Nordaas :: Norway
- The Master of Cuchillo by Rodrigo Sebastian Gonzalez :: Mexico, Chile
- Tell Him by Virginia Bach :: France
- Polished by Joshua Overbay ::USA
- Breathe by Darren Edward Fitch :: USA
- Grandpa and I by Ali Sohail Jaura :: Pakistan
- Thiruvithamcore by Jayakumar :: India
- The Dove Never Breaks Its Promise by Tengku Adrian Ismail :: Malaysia
- Lev by Alina Yklymova :: Germany
- Daughter’s Table by Heui Song Son :: South Korea
- The Leopard by Gargi Kulkarni :: India
- Mr. Segur by Jeff Johnson :: USA
- Hypothetical by Gustavo Martin :: USA
- A Cold Summer Night by Yash Sawant :: India
- Subcutaneous by Carlos Segundo :: Brazil
- Please Translate by Kelsy Lua :: USA
- The Fire Longing for The Mist by Ryandi Pratama :: Indonesia
- CHAABI…the key by Vipul Vig :: India
- Mohingar Tapwe!! by Yuki Kitazumi :: Myanmar
- Good Girls Don’t by Ana de Lara :: Canada
- Sin Cielo by Jianna Maarten :: USA
- The Hideout by Dave Deohans :: India
- Naina by Anushka Parashar :: India
- You by Rahul Nangia :: India
– Documentary Short –
- They Come Home by Rowena Potts :: USA
- Ada by Christine Margaret :: Taiwan
- The Southern Right Whale by Kevin Zaouali :: Argentina
- Children of the Republic by Ramakrishna Dhanasekaran :: India
- The last hounds by Morgane Thibaut :: Belgium
- Lawaris: Karachi’s Unknown Dead by Owen Kean :: Pakistan, USA, UK
– Animation Short –
- Passage by Ashley Young :: Australia
- The Prodigal by Tod Polson :: Thailand
- Batik Girl by Irwan Junaidy :: Malaysia
- The Water Will Carry Us Home by Gabrielle Tesfaye :: USA
- Ambulance by Lylah D’Souza :: Australia
- Expend by Bismark Fernandes :: USA
- Balance by Barzan Rostami :: Iran
- Mermaids and Rhinos by Viktoria Traub :: Hungary
- Flaneur by Holly Warburton :: UK
- Buttons Extinct by Viral Chaudhari :: India
- “Novalis” by Christopher Powel :: USA
- Whale Fall – May we all be blessed with longevity by Yiyuan Yuan :: USA
– Video Art –
- Bhairava by Marlene Millar :: Canada, India
- Static Flow by Juliana Stringhini :: Brazil
- Adam by Emma Allen :: UK
- You See the Womand by Siru Wen :: USA
– Music Video –
- Once upon time on a high hill by Alexey Belkin :: Russia
- Arupu by Harikanth Gunamagari :: India
- ORIGIN by KERAI by Kitty Von-Sometime :: Iceland
- The Letting Go by Tyler McElrath :: USA
– Web series –
- Little Tree by Bimbak Buru :: Thiland
- Fly Away by Mishkalim Hambada :: Turkey
– Virtual Reality –
- Filamu by Maud Clavier :: France
- Plomo – Journey of a Bullet by Giulia Jimenez :: USA
- Acrobatic Conundrum by Gary Yost :: USA
- Disappearance: Hong Kong Stories by Shannon Walsh :: Canada, Hong Kong
- Journey of Gold by Jenn Duong :: USA
- Other People’s Trouble by Stanislav Shelestov :: Russia
What is Curation ?
We need to start by getting one thing straight—most of the curation we talk about today in our everyday digital lives isn’t true curation at all. Curation is doing the hard work of searching through mounds of mediocrity, discovering work that has something new and interesting to say, and propping up it up for the world to see. Algorithmic curation has, so far, only been capable of telling us what’s already popular and social curation is simply reblogging, repinning, or rehashing what again is already popular. This is “curation” driven by a desire for scale, not for great content.
The reality is that great curation, the kind that shapes our collective culture, is hard work. Who’s up for the challenge?
There are no shortcuts. The only way to consistently find great films week after week is having a great curatorial team and submission process.
How we’ll be making our decision:
Quality of the story & breathtaking imagery – 40%
After film Impact – 30%
Experimentation – 20%
Deeply rooted – 10%
32, Jadavpur Central Road