Japan’s ColorBird Inc and Malaysia’s Barnet Books are joining forces to co-produce a horror film directed by Japanese filmmaker Shinji Aoyama.
Set in Malaysia, the film tells the story of a Japanese couple who set up home on a plantation and find themselves attacked by supernatural phenomena.
The cast will be primarily Japanese with a mixed Japanese-Malaysian crew. Financing will be split evenly between Japanese and Malaysian investors. Empire Film Solution will handle distribution in Malaysia, while Japanese production company Roads To Shangri-La Inc has signed on as an investor in Japan.
ColorBird Inc will handle international sales outside Malaysia. Principal photography is scheduled to start in early 2016.
“We’re very excited to be working on this film project with Barnet Books. Its unique and original premise is not just intriguing but coupled with Aoyama’s direction should be a vision that is both distinctive yet commercially accessible,” said ColorBird...
Set in Malaysia, the film tells the story of a Japanese couple who set up home on a plantation and find themselves attacked by supernatural phenomena.
The cast will be primarily Japanese with a mixed Japanese-Malaysian crew. Financing will be split evenly between Japanese and Malaysian investors. Empire Film Solution will handle distribution in Malaysia, while Japanese production company Roads To Shangri-La Inc has signed on as an investor in Japan.
ColorBird Inc will handle international sales outside Malaysia. Principal photography is scheduled to start in early 2016.
“We’re very excited to be working on this film project with Barnet Books. Its unique and original premise is not just intriguing but coupled with Aoyama’s direction should be a vision that is both distinctive yet commercially accessible,” said ColorBird...
- 5/15/2015
- by lizshackleton@gmail.com (Liz Shackleton)
- ScreenDaily
Like many film enthusiasts, I love the Criterion Collection. I scoff at some of their selections—I won’t name names—but for the most part, I anticipate new releases with excitement and glee (June’s slate is particularly amazing). Of course, due to lack of finances, I can’t buy as many as I would like – though someday, I will own the entire collection, despite the current economy offering little to no financial opportunity for an individual with my interests and skill set, but I digress.
I do, however, have a minor beef with Criterion. While admiring most of their titles, I’d love to see more emphasis on genre stuff—especially horror. And don’t get me wrong, Criterion boasts some excellent titles—Carnival of Lost Souls, Sisters, The Vanishing, Godzilla, The Devil’s Backbone, Repulsion, plus the highly anticipated release of Scanners being not far off—but they need more.
I do, however, have a minor beef with Criterion. While admiring most of their titles, I’d love to see more emphasis on genre stuff—especially horror. And don’t get me wrong, Criterion boasts some excellent titles—Carnival of Lost Souls, Sisters, The Vanishing, Godzilla, The Devil’s Backbone, Repulsion, plus the highly anticipated release of Scanners being not far off—but they need more.
- 4/14/2014
- by Griffin Bell
- SoundOnSight
#45. Shinji Aoyama’s Dog Eat Dog
Gist: Based on Shinya Tanaka’s novel, Dog Eat Dog revolves around a 17-year-old boy named Tooma Shinogaki who lives with his father and his father’s new girlfriend in an isolated riverside town. Having to witness his father’s sadistic sexual behavior toward his girlfriend on a daily basis, Tooma grows increasingly frustrated and disgusted, but he’s also influenced by it and has a difficult time fighting the urge to try it out with a local high school girl.
Prediction: Aoyama, who adapts the screenplay himself, reteams with producer Naoki Kai (who also produced his 2007 film, Sad Vacation) and we’re predicting a Directors’ Fortnight slot for this selection. In 2001, Ayoama competed in the Main Competition with Desert Moon, as well as in 2000 for Eureka, which took home both the Fipresci and Prize of the Ecumenical Jury.
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Gist: Based on Shinya Tanaka’s novel, Dog Eat Dog revolves around a 17-year-old boy named Tooma Shinogaki who lives with his father and his father’s new girlfriend in an isolated riverside town. Having to witness his father’s sadistic sexual behavior toward his girlfriend on a daily basis, Tooma grows increasingly frustrated and disgusted, but he’s also influenced by it and has a difficult time fighting the urge to try it out with a local high school girl.
Prediction: Aoyama, who adapts the screenplay himself, reteams with producer Naoki Kai (who also produced his 2007 film, Sad Vacation) and we’re predicting a Directors’ Fortnight slot for this selection. In 2001, Ayoama competed in the Main Competition with Desert Moon, as well as in 2000 for Eureka, which took home both the Fipresci and Prize of the Ecumenical Jury.
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- 4/6/2013
- by Nicholas Bell
- IONCINEMA.com
The major highlight of this year's Japan Cuts festival for Japanese film fans, as well as fans of great acting in general, is the New York appearance of Koji Yakusho, one of Japan's most acclaimed and accomplished actors, who continues to work at the top of his form. The Eel, Cure (screening July 21), Eureka, Warm Water Under a Red Bridge, and Doppelganger are but a few of the more memorable films he has starred in. Japan Cuts this year will feature a career mini-retrospective devoted to Yakusho, which will include Shall We Dance?, Masayuki Suo's 1996 film that was many Westerners' introduction to Yakusho, as well as Takashi Miike's remake of 13 Assassins (which Yakusho will introduce on July 21), and his 2009 directorial...
- 7/19/2012
- Screen Anarchy
#7. Cut Director: Amir Naderi Cast: Hidetoshi Nishijima, Takako Tokiwa,Takashi Sasano, Shun Sugata, Denden Distributor: Rights Available Buzz: Opening Venice's Orizzonti section before shipping out to Toronto, this marks a noteworthy new direction for one of the most important figures in New Iranian cinema of the 70's and 80's. After working as an American filmmaker for a pair of decade, Amir Naderi has gone all "The Five Obstructions" on his career by ordering his latest work to be all things Japanese. With collaborations from Shinji Aoyama (2000's Eureka) who helped co-write the film and Kiyoshi Kurosawa (2003's Bright Future) who served as special consultant, this should be a standout item in Naderi's filmography. The Gist: Described by the festival "as a visual love poem for the cinema set in the world of the yakuza," I'm a huge fan of filmmakers making films about the filmmaking process - in this case...
- 9/2/2011
- IONCINEMA.com
"Cars 2, directed (like several great Pixar films of the last two decades) by John Lasseter, finds itself in the unlucky position of the not-so-bright kid in a brilliant family," finds Slate's Dana Stevens. "No matter if his performance in school is comfortably average; he'll always be seen as a disappointment compared to his stellar siblings. There's nothing really objectionable about Cars 2, although parents of young children should be warned that a few evil vehicles meet violently inauspicious ends. It's sweet-spirited, visually delightful (if aurally cacophonous), and it will make for a pleasant enough family afternoon at the movies. But we've come to expect so much more than mere pleasantness from Pixar that Cars 2 feels almost like a betrayal."
Nick Schager for the Voice: "Pixar's Cars franchise takes a sharp turn from Nascar mayhem and rural red-state-targeted 50s nostalgia to 007 espionage with this upgraded sequel, though in its...
Nick Schager for the Voice: "Pixar's Cars franchise takes a sharp turn from Nascar mayhem and rural red-state-targeted 50s nostalgia to 007 espionage with this upgraded sequel, though in its...
- 6/25/2011
- MUBI
It has been four years since we last saw a feature film from former Kiyoshi Kurosawa protege Shinji Aoyama. For some filmmakers that wouldn't be a very significant gap but for the prolific Aoyama - who directed eighteen films between 1995 and 2007 - that's a very long time, indeed.Aoyama's career has been a diverse one, moving from his playful early genre efforts to his breakout drama Eureka to titles that bridge the two worlds. So the question now - as it usually is with Aoyama - is what sort of mood is he in this time? And the answer appears to be something of a hybrid.Scheduled for a June release in Japan, Tokyo Koen is very much in the smaller, arthouse stream of...
- 4/20/2011
- Screen Anarchy
Director Shinji Aoyama (Eureka) is working on a new feature-length film titled Tokyo Kouen. This will be his first feature-length project since he wrapped up his unofficial “Kitakyushu trilogy” with 2007’s “Sad Vacation”.
His latest film is based on a novel by Yukiya Shoji, who’s best known for his “Tokyo Bandwagon” series of short mystery stories. Miura plays a college student and aspiring photographer named Koji. One day he’s hired to follow a man’s girlfriend (Igawa) and take photos of her. Over time, this activity leads to gradual changes in Koji’s ambiguous relationships with women around him.
Eikura plays the ex-girlfriend of Koji’s childhood friend and Konishi plays Koji’s new stepsister.
According to Aoyama, his return to directing has the feeling of something entirely fresh. The style of this new film is said to be nothing like Eureka, which made a splash at the 53rd Cannes Film Festival.
His latest film is based on a novel by Yukiya Shoji, who’s best known for his “Tokyo Bandwagon” series of short mystery stories. Miura plays a college student and aspiring photographer named Koji. One day he’s hired to follow a man’s girlfriend (Igawa) and take photos of her. Over time, this activity leads to gradual changes in Koji’s ambiguous relationships with women around him.
Eikura plays the ex-girlfriend of Koji’s childhood friend and Konishi plays Koji’s new stepsister.
According to Aoyama, his return to directing has the feeling of something entirely fresh. The style of this new film is said to be nothing like Eureka, which made a splash at the 53rd Cannes Film Festival.
- 11/25/2010
- Nippon Cinema
Movies are made up of images, even the bad ones. But the bad movies rarely leave any images lingering in your brain. The great films are the ones making great images. A great image is many things, by nature diffuse, and we might agree that any great image moves even when stopped still, opening its own cinematic world. Thus, The Notebook's decision to celebrate our recent decade not with a list but with this stream. Each contributor was asked to pick 1 film he or she wants to remember from the 2000s, select 1 image from that film to remember it by, and write one sentence to supplement their selection. We've done our best to craft not simply a grab bag but a cogent flow of the indelible, one image speaking to the next on a variety of registers: from film to film, between color and compositional rhymes, and, as you'll read,...
- 1/16/2010
- MUBI
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