The ID Film Festival..."The Fog" and "Air Doll" to premiere! Oct. 8th thru Oct. 11th!

The ID Film Fest - a unique cultural experience - will launch next week with Los Angeles premieres of three critically-acclaimed films -"Fog" by Kit Hui (starring Terrence Yin and Eugenia Wan), Hirokazu Koreeda's much-ballyhooed art masterpiece "AIR DOLL", and Ian McGruder's "THE THINGS WE CARRY" (closing night).

The festival circuit-pleaser - an eclectic mix of films presented by the Japanese National Museum - is slated to complete its full run  at the Los Angeles National Center for the Preservation of Democracy (Little Tokyo) October 8th thru October 10th.

In essence, the founders - Quentin Lee and Koji Steven Sakai (both filmmakers in their own right) - envisioned a sparkling venue (a mini-fest, of sorts) where promising Asian/American celluloid pieces could be showcased and singled out before high-profile centerpiece projects (with big budgets) blew into town and snatched up all the media attention.

In its third year, the ID Film Fest continues to build steam and garner attention.

To the credit of the organizers, the film community views the annual event as a festival "by and for" filmmakers, who have created a compelling forum for Asian-American content and/or those of Asian descent.

"Los Angeles is a postmodern collage of cultures and identity," underscored founder/filmmaker Quentin Lee.

"The ID Film Fest is proud to present contemporary works that examine, explore or celebrate the identity crisis in our diverse global Asian community," beamed Lee, an articulate artist I first met this past year at the Asian Pacific Film Festival Director's Guild screening of his film - "The People I've Slept With."

"Everyone's struggle with identity is totally unique, but at the same time there are many commonalities," added co-founder/filmmaker Koji Sakai,

"What Am I? Am I Japanese American? Am I Asian American? Am I American?" - he wondered aloud at a recent press junket in town.

"ID Film Fest is meant to explore those similarities and differences; and through both, my hope is that everyone will be able to answer the basic question: 'What are you?'"

Previous filmmakers and artists who have participated at the ID Film Fest include Justin Lin, Michael Aki, Eric Nakamura, Margaret Rhee, Tony Huang, Ann Kaneko, Chris Chan Lee, Tad Nakamura, Jason Tobin, Rea Tajiri and Ming Lai.

This year's ID Film Fest boasts the appearances of high-calibre talents such as PJ Raval, Jessica Sanders, Brent Anbe, William Lu, Feodor Chin, James Huang, Kerwin Berk, Hirokazu Koreeda, Kit Hui, Ming Lai, Eugenia Wan and Terrence Yin.

Undoubtedly, two of the main highlights will be screenings of:

"BATTLE OF THE PITCHES 2"  & "The API PILOT SHOOT OUT"

In the latter, filmmakers will get a chance to participate in a live screenwriting pitch session with industry execs, while finalists for the "API PILOT SHOOT OUT" will be invited to screen trailers of their work in competition.

The Centerpiece film - "AIR DOLL" (from Hirokazu Koreeda) - is based on the popular manga series Kuuki Nigyo.

The wild plot-line revolves around a middle-aged man whose closest friend is a life-sized doll.

The doll is played by multi-talented Bae Donna ("The Host").

Shades of "Lars and the Real Girl"?

Take in the flick and find out for yourself!

Tickets & Info

http://www.marginfilms.com/idff/2010/

http://www.thetattler.biz

Lars and the Real Girl...Ryan Gosling in compelling drama! Writer wins "Humanitas Prize"...

In reviewing "Lars and the Real Girl", one critic referred to the project as a love story, but the assessment is misleading.

Through the grapevine, you probably got a whiff of the synopsis for the film.

A shy young man - played expertly by Ryan Gosling - falls in love with an anatomically correct doll he mail-orders from the Internet.

Then, Lars proceeds to introduce the young lady - Bianca - to family and a circle of friends and co-workers as his girlfriend.

Early on, as the story quickly unfolds, it's apparent that Gosling's character is using the "dummy" to bridge an inadequacy while maintaining a grip on reality at the same time.

For example, in spite of the fact the whole idea of a love affair with a manufactured doll seems way out in left field, Gosling's charming character quickly conjures up a support system to protect his imaginary little world.

For example, he quickly figures into the scenario a "wheelchair" to get Bianca around; after all, in the inner-most recesses of his mind, it's obvious that a non-living companion without flesh and blood, cannot walk.

Here, we have the opportunity to glimpse the fascinating machinations of the mind - and witness what its complex reasoning and problem-solving skills are capable of - in the most awkward and unusual circumstances.

This is undoubtedly due to the fact that writer - Nancy Oliver - wrote an insightful compelling script which was just awarded a Humanitas Prize this past week (shared with Ronald Harwood of "The Diving Bell) which honored her for "exploring the human condition and revealing common humanity".

Indeed, the subject matter is handled with good taste and surprising sensitivity; for instance, the segments where Bianca becomes ill resonate deeply and are thought-provoking, at best.

In fact, the tale turns down an intriguing path at this juncture in the film.

A local physician (also a psychologist) treats Bianca under the guise that Lars' companion is the focus of medical care- when, in fact - the "wise old owl" is using the occasion to surreptitiously observe her true patient, Lars.

The functional role is played with understated simplicity by Patricia Clarkson, who turns in an affecting crisp performance, which is right on the money.

The town's people are in on the "skinny" and treat Bianca like a real person.

Initially, the townsfolk react in a classic way: in disgust, with surprise, and full of curiosity!

It stretches one's credulity a bit, though, to imagine that in a small red-neck town - the guys would warm up to the idea and forgo on any taunting of Lars about what appears to be a "fetish", though.

In one humorous moment, one stud retorts:

"Heh, a woman that doesn't talk back, I want one!"

Of course, if you think that the message is that women are expendable: wrong!

In the closing scenes, the underlying theme is underscored, quite explicitly.

There is no substitute for the real thing!

Hence, the title, "Lars and the Real Girl".

You'll figure it out.