Getting an indie film distributed is as tough as producing it (SCMP)


Getting an indie film distributed is as tough as producing it

Peter GuyΒ
PUBLISHED : Monday, 31 December, 2012, 12:00am
UPDATED : Monday, 31 December, 2012, 4:58am

Have you ever fantasised about making a movie? Perhaps you have a script rolling around in your head that you think would delight and dazzle audiences, along with a casting plan culled from Hollywood’s A-list of talent.

But beware. Filmmaking ranks somewhere alongside opening a restaurant in terms of ventures that can seem fun and compelling, but which ultimately are likely to drain your wallet and break your heart. Even if you succeed in making an independent film, it’s usually difficult to get it distributed.

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Stories Forlorn: Film Review (Hollywood Reporter)


Stories Forlorn: Film Review

Directors Jason Sankey and Uri L. Schwarz debut with a drama revolving around a rarely seen side of life in Hong Kong.

For better and for worse, the days of British rule in Hong Kong left an indelible mark on the city, chief among those making it one of the most diverse cities in China, and arguably Asia, but that’s not readily apparent if the local cinema is used as the primary metric for gauging social matters. Stories Forlorn, a familiar mix of coming-of-age drama and urban thriller, wades into just those unseen diverse waters for a story that dispels the notion of privileged white youth in Hong Kong. As the story swirls around a group of randomly connected teens, drug dealers and the newly disenfranchised, all stuck in personal holding patterns in a city in flux, it’s a slice of the other side of Hong Kong life.

Set during the days leading up to the Handover in 1997 (but never overwhelmed by that watershed), what Stories Forlorn lacks in professional polish (some of the performances can be creaky at times; there are a few sound dead zones) it more than makes up for with a fresh, eye-opening voice and a perspective rarely, if ever, examined in Hong Kong cinema, independent or otherwise. Told from the point of view of a third culture kid β€” who, like writer-directors Jason Sankey and Uri L. Schwarz, is a non-Chinese, native born Hong KongerΒ β€” the film turns its gaze on one of the city’s marginalized underclasses, just one that isn’t traditionally disadvantaged. Stories Forlorn could see a healthy life on the festival circuit, particularly in Asian-themed events where its subject matter will stand out.

Continue reading “Stories Forlorn: Film Review (Hollywood Reporter)”