PUFF Film Festival Hong Kong 2019

PUFF is a non-profit organisation under Section 88 of Hong Kong Inland Revenue.  All our programs are free.  The festival is run by a dedicated group of volunteers of film directors and curators.  Please visit our store or donate to become a patron to support indie films.  

PUFF strives to give filmmakers a chance to shine and to tell their stories.  PUFF looks for the latest art house & experimental films that are not afraid to break the status quo narratives.  Now in it's 10th year, we had screened over 250 films from more than 30 countries.

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PUFF FILM FESTIVAL 2017 

Mustard Seeds Hong Kong 2017

Shenzhen OCT 2017

6TH JULY 2017 THURSDAY  7:30-11:45PM

VISAGE ONE 

Director Elaine Wong present for Q&A + after party 

Melanie (73min/Germany/2016) /

35 & Single ( 73min / Argentina ) /

Shop of Little Pleasures ( 93m / 2016) /

 

Short Film Program W including Terrine Vague, The Utopians & Like a Patch of Mud

 

Experimenta / Visage One

No.89-95 Hollywood Road, Hong Kong

Online registration info@puff-festival.org ( first come first serve )

About the Venue :  Visage One is a Hong Kong legendary live jazz  & hairdresser space; it has been featured on Luis Vuitton Journeys , CNN & Yi-Tiao TV. Visage ONE is located adjacent to video art collective Experimenta for 10 years.   

13TH JULY 2017 THURSDAY  7:30-10:30PM 

World Premiere of Nirvenue (Hong Kong ) & Behind the Face ( Mongolia ) + Short Film Programs I & II 

Directors Kal Ng , Orgil Erdenebat & cast present + afterparty

 

Mustard Seed by EEG 2nd Floor, 288 Emperor Group Building, Wanchai, Hong Kong. 

Free event for PUFF Film Club Members. 

 

About the Venue : Opening in July 2017, Mustard Seed is the new co-working space of EGG,;  EEG is one of Hong Kong's largest music and movie film studios.  This new space, housed inside it's HQ, hopes to gather the city's young indie filmmakers and production companies for collaborations .

15 -16TH JULY 2017  ( Sat / Sun ) 2:00PM-10:00PM 

Asia Premiere of Feature Film Programs

Director Cosima Littlewood present + formal dinner

 

Asia Premieres of Beneath the Silence + La Salamandra + Papajagka + A God for Every Sin + Short film program from Berlin PUFF selection  

** Shenzhen audience please refer to our program newsletter on Weixin ( in Chinese ) 

 

B. Park Contemporary

No. 101, B Block, North Side, OCT-Loft, Nanshan District, Shenzhen  南山区华侨城文化创意园北区B1栋101

Screening and dinner tickets available from 25th June to 14th July, 2017 info@puff-festival.org  Screening is free; dinner HK$500 per head  

 

About the Venue : OCT is one of the most dynamic art & film areas in Shenzhen.  Shenzhen is the HQ of some of the world's largest Internet & gaming companies.  The area is full of new energy, young professionals and tech start-ups.  

This is PUFF's first time screening in OCT and hopes to connect with this new generation of audience.   Included in our guests that evening are young  entrepreneurs  and gamers who had invested in independent film projects.    Filmmakers who are interested to connect with angel investors please send us a message before hand  info@puff-festival.org

PUFF announces Official Selection 

Cadence |  Canada  |86min | Alex Lasheras |   2016

Marrying The Family | Canada | 85min |Peter Benson | 2016

Singing To Myself | Canada | 75min | Harmony Wagner | 2016

Infinite | China | 15min |  Haoqi Yang | 2017

Brutus | Russian Federation |  37min  | Konstantin Fam |  2016

#sugarwater  United Kingdom | 54min |  jo lewis |  2016

Horseshoe Theory | USA | 12min |  Jonathan Daniel Brown |  2016

THE UTOPIANS | Russian Federation | 29 min | Svetlana Sukhanova |  2017

Like a Patch of Mud | USA | 18min |  Chieh Yang |  2017

BENEATH THE SILENCE |  Israel | 106 min |  SAHAR  SHAVIT | 2016

Inner Court Brazil | 74min |  Ricardo Mehedff |  2017

Accomplices | Belgium | 30min |  Mathieu MORTELMANS | 2016

March | Japan|  35min  | Kazuhiko Nakamura |  2016

Jonah | Austria | 13min |  Michael Maschina | 2017

The Troubled Troubadour | France / South Korea | 23min |  SÈbastien SIMON Forest Ian Etsler | 2016

A Little Rusty | USA | 10 min |  Devin Scott |  2017

Autumn's Kiss | Belarus |  66min  | Andrey Golubev | 2016

Clarity | USA | 19min |  Dustin Brown | r2016

35 and Single | Argentina | 73 min |  Paula Schargorodsky | 2016

Outcaste The House that Carol Built  | United Kingdom | 63 min|  Colin Graham 2016

TATARA | Japan |135min |  Yoshinari  NishikÙri | 2016

The Ballad of Death | Brazil | 22 min | Lucas Sa | 2016

A Cold Night in London | 20 min | Swaggy | HK/China | 2017

The Bridge | USA | 20m |  Cindy Lodice |  2016

Immure | United Kingdom | 19m | Conscian Morgan |  2016

CHANGE | Canada | 7 m |  Jonathan Ostrem | 2017

I wish It Was Night|  Italy | 9m  | Claudio Pelizzer |  2015

Julie (20m25s) | Singapore | 20m | Arjun Chatterjee |  2016

By The Way | USA | 21m | Ze Dong | 2015

Too Late To Love | Taiwan | 25 m | WEI  HAU TAN |  2017

The Bliss of Being No One | Saudi Arabia | 26 m | Bader AlHomoud | 2016

Pizza Face | USA | 10m | Justin Ulloa | 2016

Wong Tai Foong | Singapore | 16 m | Anthea Ng |  2015

Train Driver's Diary | Serbia/Montenegro | 85 m |  Milos Radovic |  2016

Nirvenue | Hong Kong | 78 m | Kal Ng |  2016

Madayen Saudi Arabia 61 Ayman Tamano August 2016

THE SCOPE OF SEPARATION China 71 Yue Chen March 2017

Tuna, Farofa & Spaghetti Brazil 95 Riccardo Rossi January 2017

The Forest Russian Federation 97 Roman Zhigalov January 2017

MEMORY III Of a City USA 11 Gloria Chung September 2013

Hell Follows USA 10 Brian Harrison June 2016

METRO Ukraine 16 Oleksandr Hants November 2016

Behind The Face Mongolia 101 Orgil Erdenebat May 2016

Accidental Occurrence USA 20 Diego Bonilla February 2017

Papagajka | Bosnia / UK / HK | Emma Rozanski | 78min | 2016

La Salamandra | Chile / HK | Sebastian Araya | 120 min | 2016

Special Submissions

*Terrain Vague | France | 14m |  Latifa Said |  2016

*My New Town | South Korea | 98m | An Chul Ho |  2016

*Shop of Little Pleasures |  93min | Julia Frick | 2016

*Congo! The Silence of the Forgotten Crimes | 78min | Gilbert Balufu| 2015

*Lama La | Nepal | 80min | LNirjal Poudyal | 2017

Summer Park | USA/China| Michael Benko | 15min | 2016

Dreaming of Denmark | Michael Graversen | 62min | 2016

*Atlan | Iran | Moeen Karimodini |  65 min | 2016

 

Berlin Submissions

LES MISERABLES - Ladj Ly / France / 2017 / 16m 

A NEW HOME - Žiga Virc / Slovenia / 2016 / 14m

OPERATION COMMANDO - Jan Czarlewski / Switzerland / 2016 / 21m 

DER TUNNEL - Marc Schmidheiny & Christoph Daniel / Germany/Switzerland/ 2017 / 10m

LITTORAL / Zoé Rossion / 23m / Switzerland / 2016


ROGER, UNKNOWN GRANDFATHER / Zoé Rossion / 23 min / Switzerland / 2016

Sir Run Run Shaw Theatre

Behind the Face

101 min | Mongolia | 2016

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2017年七月十三號(星期四)7:30-10:00PM

PUFF 2017 

新片上眏

PUFF 誠意請到導演 Orgil Erdenebat 由蒙古乌兰巴托親自來到香港介紹他的長片 首領的謀殺 及香港導演吳家龍來分享他的新作品我愛的第二十二個妳。

Director Orgil Erdenebat ( Behind the Face / 101min / Mongolia ) will be in HK PUFF 2017 for their screenings

 

Date ( 13 . 07 . 2017 ) this Thursday

Time 7:30-10:00PM 

 

Location   Mustard Seed by EEG,  Emperor Group Centre,  288 Hennessy Road, Hong Kong    

2017 Official Film Photo Gallery

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Interview with Filmmakers

A God for for Every Sin will be screened in OCT Shenzhen 15 July 2017

6PM-10PM Screening/Q&A/Formal Dinner

Director Cosima LIttlewood Biography:

British-American filmmaker and actor, Cosima Littlewood graduated from Sarah Lawrence College - alma mater of J.J. Abrams and Brian De Palma- in New York, where she studied Filmmaking and Philosophy.

 

Cosima first stepped onto a film set at twelve years old, acting alongside Ruth Wilson and Toby Stephens in the BBC's 2006 adaptation of 'Jane Eyre', playing Adele, Rochester's precocious French ward. She currently resides in Belgium.

 

Director Statement:

A God For Every Sin is a story that alludes to war crimes committed in the Korean peninsula in the Second World War. Known as comfort women, as many as 200,000 Korean women were coerced into sexual slavery for the gratification of the occupying Japanese troops.

 

Some of the comfort women are still alive today, their lives irreparably altered and disfigured. And although the war ended 70 years ago, this great act of barbarity against the comfort women constitutes a kind of psychological deformity connecting the two nations of Japan and Korea that allows for no absolution and no atonement.

A God For Every Sin is not a documentary, it is a revenge horror film. More precisely, it is about misplaced revenge that involves an innocent travelling salesman and things that lurk behind closed doors (inherited guilt, retribution). It is also a homage to the author Tanizaki and the particular aesthetic he ascribes to the Japanese: an appreciation of gloom and grime and the rich velvet of shadow, the stark opposite of clarity.

 

The short, like the war crime, is cast in darkness, and the overriding color, black. The details of each scene are difficult to discern and murky, the perpetrators, faceless. A God For Every Sin is about how far can we see into the shadows.

In the United States, our collective memory of World War II is terribly Eurocentric and focused on masculine sacrifice and valor. I hope that A God For Every Sin enlarges our perception of this brutal time to include the unique suffering of comfort women who, while they themselves were blameless prisoners of war, have been nonetheless left indelibly marked by the stain of shame.

An interview with Lucas Araujo , director of The Ballad of Death ( Brazil, 2017 )

Q01 - Tell the audience here in HK about the violence and reality of Brazil that inspires your film.

 

The idea of ​​the movie started with images of real scenes that I could see from my bedroom window in the city where I live here in Brazil. By this window I saw many violent scenes happening and that in some way affected significantly the relationship of people with this urban space. With these experiences I was creating scenes and blocks which I could somehow summarize aesthetically and visually this urban violence so present in the big cities of Brazil, not only in our country, but also in the whole world as well.

 

The city where I live in a certain way has been accumulating from this aggressiveness and a social paranoia has been created and imposed on people who walk on the streets, squares and public places of this city. The "The Ballad of Death" revolves around this urban fear I live.

 

 

Q02 - How did you start making films, and tell us about your other film projects.

 

I started to get interested in movies still in school. My first short I made with 15 years with class friends. My interest was greatly stimulated by the easy acess on films that I had in the old movies stores in my neighborhood (now all closed).

 

I have always been closed to horror movies and the power that this cinematic genre has as a sensorial and imaginative force. I love Sion Sono !!! Was one of the directors who inspired me to keep making movies!

 

I am currently completing my first feature film named "Canecalon - The Long Hair of Death". Directed and scripted by me and Guilherme Dacosta. I hope to debut it as soon as possible!

 

 

Q03 - Which city do you live in Brazil, and what films are people watching in your city right now ? Hollywood movies ? Art house , or local films ?  How has local filmmakers been doing amongst the competition from Hollywood films.  (for your information,  the program director has been to Rio and Sao Paulo and loved your country ) 

 

At this moment, I live in the state of Rio Grande do Sul, more specifically in the city of Pelotas. I was born in Maranhão, but I had to do college (cinema course) here, because there wasn't one of that in my city. Hollywood films always had a lot of space here in Brazil, unfortunately the market continues to increasingly absorving these films in our few exhibition rooms in the country.

 

A fact that has been occurring frequently in our cinematography is from big box offices with comedy films produced here. The public has surrendered to these comedies. On the one hand this contact with our cinema, this stimulation is very good, but on the other hand, these films end up not giving account and limitating the rooms to another view of the excellent Brazilian production.

 

A good way to stimulate this audience is with the film festivals and shows. Numerous festivals take places throughout the year, opening an alternative window for these films. It is also very good to see films like "Aquarius" (Dir. Kleber Mendonça Filho) and "Neon Bull" (Dir. Gabriel Mascaro) running a notorious worldwide paths.