한국국제교류재단

COVER STORY

ASEAN films are riding the waves of change
By Park Hye-eun Chief Editorial Officer, The Screen

Film still from White Building

The issue most noted by the global movie community at the moment is cultural diversity. Stories that are based on a “Western white male” perspective are regarded by 21st century audiences as outdated relics, with Asian cinema. Which has thus far been relegated to non-mainstream status, increasingly spotlighted for the diversity by which it has always been characterized. Especially encouraging is the fact that the Asian cinematic spectrum, which was previously dominated by China and Japan, is broadening to include Korea and ASEAN.

Of the ASEAN countries, Thailand is knocking on the global market’s door, using its strengths in not only cinema but other video-related genres, such as advertisements and dramas, with domestic audiences. In 2021, rising Cambodian director Kavich Neang’s White Building was the first in the country’shistory to enter a competitive category (Orrizonti Section) at the 78th Venice Film Festival, which is also where Filipino “people’s actor” John Arcilla received the Best Actor award for his performance in Erik Matti’s On the Job: The Missing 8.

The changes to the movie viewing environment brought about by the COVID-19 pandemic are helping movies from ASEAN to be promoted overseas. Let’s enjoy the films by Southeast Asian directors that are currently benefiting from riding the waves of change.

Article may not reflect the opinion of the editorial board of the ASEAN Culture House Monthly.