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Deluge Philippines Dir: Auraeus Solito


leading Filipino arthouse film-maker, Auraeus Solito is returning to his roots with Deluge, the first film in his planned Palawan Trilogy, about the

heritage of his ancient island tribe. “I grew up in a landscape of magic realism, but I only

realised it after I grew up and told my classmates about these stories,” says Solito, who was one of the first of his tribe born outside of Palawan, in the city of Manila. The trilogy will intertwine the stories of the director’s

family and the legends of his tribe with modern historical events. His HAF project Deluge, representing the past, will be the first segment. He is already shooting the second segment, Fate, representing the present. The last segment, Origins, will represent the future. “Because Deluge recreates the past and epic legends, it

requires more budget, so we started with the present,” says Solito, whose credits include a documentary about his tribe, Basal Banar — The Sacred Ritual Of Truth. Deluge tells the story of a great flood, which is survived by

one pregnant woman who must restart life in the universe. Solito will use the same cast in different roles throughout the trilogy, mixing newcomers and well-known actors including Alessandra de Rossi (Kelvin Tong’s The Maid). Solito’s features include The Blossoming Of Maximo Oliveros, which won multiple awards including the Teddy for best feature at the Berlinale. It was also nominated for best foreign film at the Independent Spirit Awards in the US. Solito, who completed the script for Deluge at the

Binger Filmlab in Amsterdam, is producing the Palawan Trilogy with his company Solito Arts Productions. The Philippines’ National Commission for Culture and the Arts (NCCA) has awarded $12,500 to Deluge.


Budget $300,000 Finance raised to date $25,000 Cast attached Alessandra de Rossi, Alfred Vargas, Clifford Banagale Contact Auraeus Solito, Solito Arts Productions,

n 8 Screen International at Filmart/HAF/HKIFF March 23, 2011 AMANANDAWOMAN

Budget $3.6m Finance raised to date $400,000 Contact bom Film Production,

A Man And A Woman South Korea Dir: Lee Yoon-ki

Berlinale — is set to direct what he says will be his first commercial melodrama. “This will be a film in a different direction from what


I’ve been doing until now,” says Lee, whose previous titles, including This Charming Girl, Ad-Lib Night and My Dear Enemy, have travelled to festivals such as Pusan, Berlin and Karlovy Vary. “I haven’t done films in which the emotions were portrayed with much violence. Compared with my other films, this one is going to widen the spectrum of what I show in terms of the conflict of emotions or sexuality.” A Man And A Woman is about a couple, both with

disabled children, who meet and have an affair. “The couple meets abroad because of their children,” Lee explains. “They feel for each other and soon are involved in an irreversible relationship which continues in Korea and in all actuality runs to catastrophe.” The script is in its third draft and Lee is working on

production plans with producer Oh Jung-wan and her company bom Film Production. An established producer, Oh’s credits include Hong Sang-soo’s Night And Day, Lee’s previous film My Dear Enemy, and Kim Jee-woon’s A Bittersweet Life — films noted for their strong production values and impressive casts. A Man And A Woman will shoot on location overseas,

preferably in Finland or Norway. At HAF, Lee and Oh will be looking at film commissions and for co-producers, funds and sales agents. “We’ll shoot about 30% overseas and 70% in Korea. We haven’t fixed on the location, but I plan to shoot in landscape which looks tremendously far away from Korea,” says Lee.

Jean Noh

outh Korean director Lee Yoon-ki, known for arthouse films such as Come Rain, Come Shine — which screened in competition at this year’s

Big Father, Small Father

And Other Stories Vietnam Dir: Phan Dang Di

crisis, when he read a newspaper clipping about young men who were paid by the government to have vasectomies, and therefore keep the birth rate down. “My film is intended to provide a fresco of Vietnam at


the end of the 1990s. It does so through the stories of a handful of characters who all lodge at the same boarding house in Ho Chi Minh City,” he says. “The tensions and contradictions related to their sexual desires and their innermost feelings stem from the pressure coming from society — economic needs, family traditions, etc.” As in his award-winning feature debut Bi, Don’t Be

Afraid — which premiered in Critics’ Week at Cannes in 2010 — and in Bui Thac Chuyen’s Adrift, which he scripted, Phan plans to follow a set of characters which represent a wider view of Vietnamese society. “Though set in a recent past, this portrayal will be

relevant to the present reality of the country,” he adds. Phan’s short, When I Am 20, screened in the short film

competition at Venice in 2008, and in 2009 Adrift won Venice’s Fipresci award. Phan also picked up an Asian Film Awards nomination for his Adrift screenplay. Big Father, Small Father And Other Stories is being

produced through Phan’s company VBlock Media, which the director founded in 2008, along with Sudest-Dong Nam, one of the leading commercial production houses in Vietnam. The script was due to be finished by the end of February

and Phan is scouting locations as well as starting the casting process.


Budget $1m Finance raised to date $120,000 Contact Nguyen Hoang Diep,

ietnamese director Phan Dang Di first thought of the idea behind Big Father, Small Father And Other Stories 14 years ago, during the Asian economic

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