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Nov 1 06 1:17 AM

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Festival Announces Award Winners
The Louis Vuitton Hawaii International Film Festival Awards Ceremony honored the works of over 250 filmmakers and sponsors from across the globe at the Royal Hawaiian Hotel last night, Thursday, October 26. Here are the winning films.

HALEKULANI GOLDEN ORCHID FOR BEST FEATURE FILM
LOVE FOR SHARE (director Nia Dinata, Indonesia)

HALEKULANI GOLDEN ORCHID FOR BEST DOCUMENTARY
TIME AND TIDE (directors Julie Bayer and Josh Salzman, Tuvalu, USA)

Special jury award for SHARKWATER (director Rob Stewart, Canada)

FILM IN HAWAII AWARD
LOST

NETWORK FOR PROMOTION OF ASIAN CINEMA AWARD
4:30 (director Royston Tan, Singapore)

EASTMANN KODAK AWARD FOR ACHIEVEMENT IN CINEMATOGRAPHY
Matthew Libatique, ASC

MAVERICK AWARD
Kevin Smith

ACHIEVEMENT IN ACTING
Ken Watanabe

VISION IN FILM AWARD
The Hollywood Foreign Press Association

HAWAII FILM AND VIDEOMAKER AWARD
NA KAMALEI: MEN OF HULA (directed by Lisette Marie Flanary)

Special jury award for DAO (directed by Jay Hubert)

HONOLULU MAGAZINE AWARD FOR BEST SHORT FILM
MAJIDEE (Malaysia)

CAUSE AND F(X) DREAM DIGITAL AWARD
SUNDAY WIND (directed by Michael Wurth, Hawaii)

DHL AUDIENCE CHOICE AWARD FOR BEST FEATURE
THE HOST (directed by Bong Joon-ho, South Korea)

DHL AUDIENCE CHOICE AWARD FOR BEST DOCUMENTARY
NA KAMALEI: MEN OF HULA (directed by Lisette Marie Flanary)

DHL AUDIENCE CHOICE AWARD FOR BEST SHORT FILM
RUCKUS! (directed by Dean Ishida, Hawaii)


posted by Christian Razukas at 07:56

10.21.2006
Promote Your Favorite Films!
Promote the Festival! Promote Your Favorite Film! Each film synopsis page has a little bit of code you can copy and paste into your blog or MySpace profile. The code will load a cool image from your favorite film onto your webpage. Click here to get started!
<a href="http://go.manja.org/1297/0/5"><img src="http://img.manja.org/r/1297/0/w/320/z/0/5/inhe-v.jpg" width=320 height=280 border=0 /></a><br/><a href="http://manja.org/promote/me/1297">Add this to your blog or myspace</A><br/><br/>
Add this to your blog or myspace


posted by anderson at 10:12

10.20.2006
See you at the movies!
The 26th edition of the Louis Vuitton Hawaii International Film Festival has begun! There are over 250 films to see this year, and to help guide you through this wealth of cinema, we recommend you start with these links....



Check out our Ten Festival Tips!
The festival blog has constant updates, video reports and behind-the-scenes information.
Subscribe to the eNews for a daily report of festival news.
Look at the film schedule for detailed film synopses and showtimes.
Look for myHIFF recommendations after each film synopses. We've recommended additional films.
Check out the Deep Focus Series for special post-screening discussions with international movie stars and directors.
Visit the Special Features page for a list of seminars and special guests.
Want to beat the crowds? Check the Rush Lines and Added Screenings Page. Updated 24/7!

posted by Christian Razukas at 20:02

10.19.2006
Promote Your Favorite Films!
Promote the Festival! Promote Your Favorite Film! Each film synopsis page has a little bit of code you can copy and paste into your blog or MySpace profile. The code will load a cool image from your favorite film onto your webpage. Click here to get started!
<a href="http://go.manja.org/1383/0/5"><img src="http://img.manja.org/r/1383/0/w/320/z/0/5/risi-v.jpg" width=320 height=288 border=0 /></a><br/><a href="http://manja.org/promote/me/1383">Add this to your blog or myspace</A><br/><br/>
Add this to your blog or myspace


posted by anderson at 17:54

10.16.2006
DUELIST and KANK Added!
We've added two more films for this year's Louis Vuitton Hawaii International Film Festival! Tickets on sale now!

DUELIST Korean director Lee Myung-Se (NOWHERE TO HIDE) returns to filmmaking after 6 years with a whirlwind of movement, a ballet of bloodshed and a candy-colored carnival of clashing characters but it is most definitely not an action film: it's a romance. Set in the Joseon Dynasty, it's the story of a female cop and the assassin she pursues through chaotic marketplaces, winter snowstorms, and elaborate birthday parties, but when they cross swords you can't tell if they're fighting or dancing. Starring HA Jiwon, reprising her role made famous in DAMO.

For all you K-Drama fans, she will be attending the festival and presenting the film in-person!

Thursday, October 19, 8:45pm, Regal Dole Stadium 18
Buy Now!


Add this to your blog or myspace

KABHI ALVIDA NAA KEHNA
We are honored to screen the latest Bollywood extravaganza, KABHI ALVIDA NAA KEHNA or KANK for short! The film centers on the budding romance between Dev (Shahrukh Khan)and Maya (Rani Mukherjee), who are both married to different people. Settled into a life of domestic ritual, and convinced that they are happy in their respective relationships, the protagonists still yearn for something deeper and more meaningful, which is precisely what they find in each other. From a relationship starting off in pleasant barbs, the two begin to develop and acknowledge the feelings they have beneath the surface. When their feelings come to the forefront, what results is a collision of lives and emotions, affecting everyone involved and changing them forever.

Sunday, October 29, 3:45pm, Regal Dole Stadium 18
Buy Now!


Add this to your blog or myspace
posted by anderson at 16:36

Business as Usual!
We're all OK here at the Louis Vuitton Hawaii International Film Festival after Sunday's earthquake! The power is back on at the festival offices (phones are down, e-mail is up) and the box office will resume its regular hours today, Monday! On-line ticket sales are available for your convenience!

The festival starts this Thursday with our premier screening of BABEL at the historic Hawaii Theatre!
posted by Christian Razukas at 09:23

10.07.2006
BOX OFFICE OPEN TO GENERAL PUBLIC
The Festival website is now live, and ticket sales are open to the general public. Click here for box office information, and to learn how to buy tickets on-line, by phone or fax, or in person.
posted by Christian Razukas at 12:55

EXCLUSIVE HOTEL OFFER
Make Hawaii's most famous beach your own backdrop for modern glamour and old-world elegance by staying at one of the Sheraton Hotels in Waikiki, the setting for movies like FROM HERE TO ETERNITY and PUNCH DRUNK LOVE...and the center of LVHIFF excitement.

We're pleased to offer a special hotel package exclusive for festival attendees.

Choose from the Sheraton Waikiki, The Royal Hawaiian, Sheraton Moana Surfrider or the Sheraton Princess Kaiulani for gracious accommodations, sensational dining and entertainment, and breathtaking views, all in the heart of Waikiki. Room rates start at only $121 per night (based on a 3-night minimum stay).

PLUS receive the following (valued at over $750):

2 Invitations to the Opening Night Gala
2 Invitations to the Awards Show
2 LVHIFF Canvas bag
2 LVHIFF T-shirts
2 LVHIFF posters
2 Complimentary tickets to The Contemporary Museum Honolulu
20 Quick Tix

And an invitation to a celebrity cocktail reception and private screening with discussion for 2 guests on Wednesday, October 25.

Call +1 866 716 8140 and ask for rate plan LVHIFF to receive your special rate.

Offer valid from Oct. 18 to 30, 2006. Minimum 3-night stay required. Single or double occupancy. Subject to availability. Price above based on accommodations at Sheraton Princess Kaiulani. Offer subject to change without notice. Quick tickets good for regular film screenings and excludes Opening Night and special events.
posted by Christian Razukas at 12:44


Previous Posts
"Best of the Fest" Screenings Added
Festival Announces Award Winners
Promote Your Favorite Films!
See you at the movies!
Promote Your Favorite Films!
DUELIST and KANK Added!
Business as Usual!
BOX OFFICE OPEN TO GENERAL PUBLIC
EXCLUSIVE HOTEL OFFER
Archives
October 2006

VOLUNTEER for the Fall Festival! Click here to get started!

BLOG Visit the Flash Pass Blog for the latest news on the films of the Festival and Asia!

MYSPACE Please be our friend on MySpace.

ENEWS Subscribe for the latest Festival updates!

TRAVEL Visit Hawaii and the film festival using our official travel website.

RENT A DECK LVHIFF's Sony J-30 SDI Compact Player DigiBeta deck is available for rent. Contact us for more info.

CALL FOR ENTRIES Closed on June 30 for the 2006 LOUIS VUITTON Hawaii International Film Festival. We


Aduh seneng bisa gondol salah satu nominasi, siapa tahu nanti gondol OSCAR vingertje buat film berbahasa asing..biar Indonenong namanya kagak negatif melulu...

kapan nih dateng ke Brussel ini film :?: :?: vingertje
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ika

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Posts: 4,688

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Nov 8 06 10:26 PM

wah selamat buat Nia Dinata utk film 'Berbagi Suami'nya! Bagus banget, gue nonton sampe dua kali lho :D

udah menang The Best Feature Film di Hawaii Film Festival, sekarang masuk seleksi Academy Awards 2007 utk kategori Best Foreign Langauge Film. Mudah2an bisa melangkah lebih jauh drpd film Ca Bau Kan dan Gie dgn masuk nominasi Oscar ;)

Saat ini, film Berbagi Suami di diputar di festival film di Jenewa. Dr festival ke festival, film ini selalu dijubeli penonton dan mendapat aplaus panjang. Lihat link: http://www.detikhot.com/index.php/tainment.read/tahun/2006/bulan/11/tgl/07/time/184656/idnews/705129/idkanal/229

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ika

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Posts: 4,688

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Nov 8 06 10:29 PM

Review dr Sinema-Indonesia.com


Berbagi Suami (2006)

Hat-trick Kalyana Shira Film setelah Arisan! dan Janji Joni ini bertanggung jawab membuat kalimat se-corny "berbagi suami" menjadi kalimat yang berkelas. Berbagi Suami seharusnya dijadikan benchmark buat film-film Indonesia yang bakal dirilis biar kita nggak malu dan dipermalukan lagi sama film Indonesia. Forget about Gie, saya berani bilang kalau Berbagi Suami adalah film Indonesia yang paling well-made yang pernah dibuat.

Oh my God, Berbagi Suami adalah film dengan ensemble cast yang nyaris sempurna. Nggak pernah saya nonton para aktor dan aktris berinteraksi dalam sebuah film Indonesia seseru nonton final Piala Uber waktu Susi Susanti masih cantik. Berbeda dengan film-film Indonesia lain, yang saya lihat di sini adalah karakter, bukan lagi para bintang-bintang yang berakting. Penyutradaraan Nia Dinata juga semakin mateng aja. Ini jelas film feminis. Dan kayaknya Nia berhasil membuat Wong Solo dan laki-laki gatel lain kebakaran bulu ketek. Untuk ini, Nia menjadi salah satu hero saya.

Berbagi Suami menceritakan tiga kisah yang saling berpotongan dengan rapi. Kisah pertama adalah kisah Salma, perempuan berpendidikan dari keluarga kaya yang mengalami poligami suaminya. Yang kedua adalah cerita seorang supir produksi film yang juga mengikuti sunnah rasul. Cerita ketiga adalah tentang poligami di sebuah keluarga Tionghoa.

Ketimbang serius-serius dan bikin suntuk, Nia lebih milih komedi untuk menjalankan misinya menghukum para laki-laki yang nggak bisa menyimpan burungnya tetep di dalem celana. Dan jadinya memang lucu sekali, sekaligus berkelas.

Seperti yang saya bilang tadi, ini adalah film Indonesia paling well-made. Camerawork di Berbagi Suami bisa diadu sama film-film luar. Sentuhan perusahaan film dari Perancis, Wallworks, jelas membuat film ini terlihat sebagai film yang bener-bener dibuat oleh para pro. Dan musiknya, (sekali lagi) oh my God, saya heran kenapa belum semua film Indonesia menggandeng anak-anak jenius di Aksara Records untuk mengisi soundtrack film-film mereka. Di Berbagi Suami, mereka bukan cuman mengisi musik, tapi mengisi jiwa film ini.

Kekurangan utama Berbagi Suami adalah, film ini sudah mengatakan semua yang mau ia katakan di dua pertiga film sehingga segmen ketiga terasa agak ngesot, di samping beberapa dialog yang kurang signifikan (termasuk dialog panjang soal bintang film Cina). Tapi secara keseluruhan, film ini juara. (NANDA MEILANI)



PARTAGE TON MARI (Love for Share)

Once you’ve seen Partage Ton Mari, you might forgive all the pre-pre-Cannes hype that Nia Dinata has been drumming up:

- her taking on a French co-producer to try to sweettalk her way into the festival,
- the financial support from WallWorks Film France, her hiring a bule sound recordist so we won’t have to wear hearing aids like we do when we see other Indonesian movies with VERY LOUD MUSIC and what, what the fuck did he say just then? dialogues,
- and the French title that you’ve heard since before Janji Joni had even been released.

The film does manage to pull around itself a kind of European sensibility, a cloak that Nia the producer (and the writer, and the director) must hope will protect the movie from the cold stares of the judges at Cannes.

The structure of the film is Kieslowskian. Three lives (or three movies) in one, strung together by chance encounters. Such when two of the ten wives in this movie, from the second of the three stories, went to the gynocologist to get a spiral, the gynocologist turned out to be the first wife of the man in the first story—a six-deus (I’m gonna sound like a prick if I said dei)-ex-machina-of-separation kinda thing), TV’s breaking news of the tsunami (yes, that home video), and the (bigger? as big as?) tragedy that all these women are trapped in the strangely calming (dangerously calmative!) whirlpool of polygamy.

This movie, like Arisan!, has also been bandied about in the press as a satire, and it is a much better satire than Arisan!, though that’s not saying much since being satirized by Arisan! must’ve felt like being smacked in the face ... with a cashmere Zegna pashmina. That’s how light and fluffy the satire was, if there was any. But Partage Ton Mari is harder-hitting, there are snides and open criticisms against Islam, Indonesia, and men in general.

Sometimes Nia Dinata managed to put all of them in one dialogue, eg., when Koh Abun (Tio Pakusadewo) were wooing Ming (Dominique) to become his second wife, he argued that he still had to keep her a secret for a while because, “Easy if I were a Haji, I could have four wives, but we’re Chinese, and Catholic, hard!” and Ming replied, “No, no, that’s not true! In Jambi, where I’m from, there was a Chinese engkoh who had five wives!”

And in a way that’s the one problem that Partage Ton Mari as: I came out of the cinema feeling cheated (haha!) that Nia had chosen her message (that polygamy is after all—even though the men and women who are in it are men and women just like us, they are not necessarily bad men or stupid women—bad) over telling the stories. In more details, please Nia. Longer. Don’t leave me hanging.

There are now three stories, three case studies, of polygamy. El Manik the Haji conglomerate who married a doctor (she not stupid!), a dukun-hiring ibu-ibu, and a young activist (she not stupid either!); Lukman Sardi the driver who married his niece from Java with a really bad Jakarta accent (Shanty), a movie-stealing Ria Irawan, a (typical) daster-wearing Rieke Diah Pitaloka, and a new bejilbabbed wife from Aceh he met while driving a tsunami-documentary-vultures crew in Meulaboh. He is poor and they all (too many babies in the house I lost count) had to share a tiny house in a gang. One wife who “gets her fill” sleeps with the husband in the main bedroom and the rest on the floor in the tiny guestroom (later when another baby arrived, the big kids had to move out to the living room). The wall is thin and the old wives are used to sleeping to the tune of each other’s cries of pleasure (Ria Irawan cried hardest of course). When the old wives couldn’t hear what Shanty the new wife (before the Aceh wife arrived) was doing whenever she “got her fill”, they pressed their ears to the thin tripleks wall and got worried.

Finally, after a threesome with Rieke Diah and the husband, Shanty realised that polygamy was not for her, but perhaps lesbianism was. She and Rieke Diah started sneaking into empty rooms, when there was any, and in the cramped spaces (and time), found happiness at last. I might’ve written it like a joke, but seriously this is my favourite part of the movie. It is not clear if the women fell in love with each other out of boredom, or common hatred of the husband, or the desire to leave their dreary, babies-fllled, life, or if they were in love at all—were they just looking for an excuse to escape?—and why should it be?

For a while I forgot about the message, and perhaps Nia did too, it’s there amongst the forest of hair on Ria Irawan’s armpits, on tops of the mountains of unironed popoks, in between the morning sicknesses. But the armpits, the unironed popoks, the morning sicknesses were much more interesting and for a while they almost became the bigger problem. If the husband was as rich as the Haji, and could buy them each a house, and each kid a horse-riding lesson, would they have acted the way they did? Is polygamy the cause, or the people in it? It almost feels like that moment in a von Trier movie when he decides that he’s not being controversial enough so he goes and kills everyone in it: so, what am I really saying now, huh?

It was such a downer when this part had to end with a totally “nggak penting!” cameo by Aming as an Express taxi driver (quit it with the cameos please, Nia! When Ming said, “How could we make progress, if they keep casting the same names?” I hope it was self-criticism.) The next installment was the story of Koh Abun and his Bebek Goreng Wong Cina stall. It is good too, Tio Pakusadewo was wonderfully greasy-haired, gohyong-bellied, and fanny-packed and the vignettes of Chinatown’s life (the late night ceki card games, the Chinese swear words, the garish orange of Ming’s Mangga Dua studio apartment) make you go “Ahhhh!” at the cultural diversity of this place. I don’t care if I sound like Evieta Fadjar P. Isn’t that what movies are supposed to do? Take you to places you never go to since you’re too busy sitting on your ass watching them all day?

Still, it took me a while to get into the story, maybe because I was still recovering from seeing Ria Irawan casually snap her undies back into place after one of her loudmouthed baby-making sessions, or maybe because by this time the point was already made. There was a new story, and it was good, but I sort of needed time to get over the last one and talk about it with my friends. It was sort of like climaxing, and then having to do it all over again. Maybe it’s sort of more like polyandry.

(Two stars, maybe three, man, it’s easier choosing how many wives you want)

P.S. Of course I know Nia Dinata probably thinks she has to write stories about polygamy in all the social strata and ethnic-religious groups in Indonesia to avoid offending anyone, but I get too sad just thinking about this issue I really don’t wanna talk about it. (all wrongs reversed by MIKAEL JOHANI

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