NYAFF XXIII: Awards Announced!
The 23rd New York Asian Film Festival wrapped only a few days ago and remote coverage this year was great. I didn’t get to see a lot of the films I wanted to, but I got to watch a good dozen or so, and you’re welcome to catch up on the reviews I did by clicking here.
In the meantime, the awards were announced on Monday and it’s awesome to see a few of the titles this site has screened mentioned in the announcement. Check it out below!
New York, NY (July 29, 2024) – The 23rd edition of the New York Asian Film Festival (NYAFF) wrapped up a blockbuster 17-day run on Sunday night, following stage appearances by 130 acclaimed filmmakers, international stars and other notable guests from across Asia and the Asian diaspora, and screenings of over 90 films from July 12 to 28 at Film at Lincoln Center (FLC), the SVA Theatre, with additional screenings at LOOK Cinemas W57, plus special presentations at the Korean Cultural Center New York. This year’s epic NYAFF featured new and classic titles from China, South Korea, Japan, Hong Kong, Taiwan, Thailand, Indonesia, Mongolia, Malaysia, the Philippines, Vietnam, and beyond, with nine world premieres, 12 international premieres, and 38 North American premieres. A record one-third of the screenings were sold out.
The July 28 closing night celebration at SVA Theatre began with a thronged red carpet, followed by awards announcements and the North American premiere of Twilight Warrior: Walled In, with producer John Chong and actor Philip Ng in person for a Q&A session.
The NYAFF 2024 Audience Award went to the pan-Asian box-office smash How to Make Millions Before Grandma Dies. The film, from Thai director Pat Boonnitipat, stars superstar Billkin as a slacker who quits his job to become his grandma’s caregiver. Audience Award runner-ups were Soi Cheang’s nonstop actioner Twilight Warrior: Walled In, followed by a tie for third place between Taiwanese director Leo Wang’s Breaking and Re-entering, a hilarious reverse-heist action-comedy with a star-studded cast; and Japanese director Kazuya Shiraishi’s epic yet elegiac jidaigeki samurai film Bushido.
The Best Short Film Award went to Cross My Heart and Hope to Die, from the Philippines’ Sam Manacsa, with the jury commenting: “Cinema is a reflection of the human spirit. The film we chose was actually the only film of the 26 that made it on the individual list of all four judges.” Two additional Special Mention awards were also announced: The Boys and the Donkey, from China’s Tsering Yangjyab, and White Butterfly, from Vietnamese-American director Catherine T. Nguyen. The Shorts Showcase jury was composed of filmmaker Patrick Chen, actor Shuhei Kinoshita, actor Perry Yung, and academic Zhang Zhen.
NYAFF’s Uncaged Award Competition, which shines a spotlight on filmmakers whose singular visions deserve to be internationally heralded, included eight titles from directors in China, South Korea, Thailand, Japan, Taiwan, Indonesia and Malaysia/Taiwan/Singapore. The section is a celebration of passion, imagination, and the willingness to take risks. NYAFF believes these are the filmmakers to watch, the ones who are bending and rewriting the rules and creating something new and exciting.The Uncaged winner was selected by a jury composed of director Tony Bui, producer Shao-yi Chen, Criterion Channel programming head Aliza Ma, actor Nonkul, actress Shaina Magdayao, and sales & acquisitions manager Felix Tsang.
The Uncaged Award for Best Feature Film went to Snow in Midsummer (Chong Keat Aun, Malaysia/Taiwan/Singapore), which just made history in Malaysia, where it became the first film about the tragic riots of May 13, 1969 to ever be released. The jury cited “its rich, layered, and emotionally complex portrayal of a largely forgotten injustice, which does what cinema at its best can do: it reminds us that some things should not remain forgotten and that through stories, we can explore the depths of human experience, confront painful truths, and foster greater understanding and empathy.”
Director Chong Keat Aun commented, “This film was released nationwide in Malaysia last week, but in a version that is incomplete. It contains 27 instances of blacked-out, blurred-out or muted scenes. For the past 50 years, this incident has not been spoken about in Malaysia, so hopefully this award will be a message to the Malaysian government that one day, the complete version of the film can be seen. The award goes to all the family members of the victims and those still searching for closure. We’ll be with you until you find everything that you’re looking for. ”
A Special Jury Award was also given to Women from Rote Island (Jeremias Nyangoen, Indonesia), with the jury citing it for “its courageous and uncompromising portrayal of women as second-class citizens through the lens of a heinous act that tears a family and community apart, and its incredible use of non-actors to tell a difficult story in a region rarely portrayed on screen.” Accepting the award on behalf of the director, producer John Badalu noted that, “There were so many strong films in competition, this was totally unexpected. I hope this will increase the awareness and visibility of the film itself in Indonesia. This award goes to all the women in the world.”
Closing out the festival, NYAFF Executive Director and President of the New York Asian Film Foundation Samuel Jamier told the audience, “The 23rd edition of the New York Asian Film Festival has shattered expectations, proving that Asian cinema’s appeal continues to surge across the city. With our expanded lineup of nearly 100 films across 5 screens, we’ve witnessed an unprecedented 33% growth in both attendance and box office revenue. One-third of our screenings sold out within days, a testament to New Yorkers’ appetite for diverse storytelling. Our expanded Thai and Taiwanese sections were particular highlights, while the triumphant return of major Hong Kong productions rekindled the city’s love affair with this vibrant cinema. This year’s festival also showcased a broader range of narratives, from intimate personal dramas to epic historical sagas, reflecting the rich tapestry of Asian storytelling. As we hosted 130 filmmakers and special guests, the festival has truly become the nexus for Asian cinema in North America, reaffirming our mission to bridge cultures through the power of film.”
