When I first heard that Taichi Kimura’s Fujiko had won the Golden Mulberry at the Far East Film Festival (FEFF), my initial reaction was one of quiet satisfaction. Not because I’m a die-hard fan of Kimura’s work—though I’ve always admired his ability to weave intimacy into grand narratives—but because Fujiko feels like the kind of film that needs to be celebrated right now. Set in 1970s and 1980s Japan, it’s a story about a single mother navigating a society still grappling with women’s liberation. What makes this particularly fascinating is how it resonates beyond its historical context. In my opinion, the film isn’t just a period piece; it’s a mirror held up to contemporary struggles. The fact that it won the top prize at FEFF suggests that audiences are craving stories that confront societal norms, even if they’re uncomfortable.
One thing that immediately stands out is the shared Black Dragon critics’ prize between Fujiko and The Seoul Guardians. On the surface, these films couldn’t be more different: one is a tender family dramedy, the other a searing documentary about a surreal protest in Seoul. But if you take a step back and think about it, both films are about resistance—one personal, the other political. The Seoul Guardians, with its immersive retelling of the 2024 martial law protests, feels like a time capsule of chaos and hope. What many people don’t realize is that documentaries like this often struggle to find mainstream recognition, so seeing it honored at FEFF is a testament to the festival’s commitment to diverse storytelling.
What this really suggests is that Asian cinema is in a moment of profound evolution. The unexpected tie for the Crystal Mulberry between four films—Blades of the Guardians: Wind Rises in the Desert, My Name, Tunnels: Sun in the Dark, and The King’s Warden—is a perfect example. Personally, I think this speaks to the sheer breadth of talent and creativity in the region. It’s not just about one standout film; it’s about a collective push toward innovation. Yuen Woo-ping, who directed one of the winning films, also received a Lifetime Achievement Award, which feels like a symbolic passing of the torch to the next generation of filmmakers.
A detail that I find especially interesting is the festival’s focus on Hong Kong for its 2027 edition. Hong Kong cinema has always been a cultural powerhouse, but its recent struggles—both political and artistic—make this choice feel particularly timely. From my perspective, it’s a way of saying, ‘We see you, and we’re not letting your stories fade.’ This raises a deeper question: Can film festivals like FEFF act as a form of cultural preservation? I believe they can, especially when they draw 70,000 visitors and showcase 75 films from 12 countries.
If you ask me, the most compelling aspect of this year’s FEFF isn’t the awards themselves but what they represent. The Lifetime Achievement Awards for Koji Yakusho and Yuen Woo-ping, the Outstanding Achievement Award for Fan Bingbing—these aren’t just career retrospectives. They’re statements about the enduring impact of Asian cinema on a global scale. What this really suggests is that the industry is finally starting to recognize the richness of its own history.
But here’s the thing: festivals like FEFF aren’t just about celebration; they’re about provocation. The fact that Unidentified Murder won the White Mulberry for best debut film, with a special mention for The Seoul Guardians, shows that FEFF isn’t afraid to spotlight bold, unconventional voices. In my opinion, this is what makes it one of the most exciting film festivals in the world. It’s not just a showcase; it’s a conversation.
As I reflect on this year’s winners and the festival’s trajectory, I can’t help but wonder: What will Asian cinema look like in the next decade? With Hong Kong in the spotlight for 2027, I’m betting on a resurgence of politically charged storytelling. But more than that, I’m hopeful that festivals like FEFF will continue to amplify voices that challenge, inspire, and provoke. Because, at the end of the day, isn’t that what great cinema is all about?
