PUFF FILM FESTIVAL 2017
Mustard Seeds Hong Kong 2017
Shenzhen OCT 2017
6TH JULY 2017 THURSDAY 7:30-11:45PM
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
No.89-95 Hollywood Road, Hong Kong
Online registration ( 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 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
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
*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
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
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
Location Mustard Seed by EEG, Emperor Group Centre, 288 Hennessy Road, Hong Kong
2017 Official Film Photo Gallery
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.
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.