YEAH ~~~ 龜龜的電影每次參加電影節都會獲獎.....這次「バンクーバーの朝日」成為溫哥華國際電影節觀眾獎的大贏家........通過統計參加電影節的觀眾的選票.......而榮獲了Rogers People's Choice Award......
雖然龜龜不是主角...但我想如果沒有他這配角出現...一定不會有這樣的結果.........很想快點看到這部電影.....還有2個多月.........
雖然龜龜不是主角...但我想如果沒有他這配角出現...一定不會有這樣的結果.........很想快點看到這部電影.....還有2個多月.........
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http://www.vancouversun.com/touch/story.html?id=10238728
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A feature film based on the legendary Japanese-Canadian baseball team, The Vancouver Asahi, has won the top audience award at the Vancouver International Film Festival. Ishii Yuya’s film, which had its world premiere at VIFF, was named the winner of the Rogers People’s Choice Award at the festival’s closing gala Friday evening.
Other audience winners announced Friday include James Keach’s Glen Campbell: I’ll Be Me – which followed the legendary country singer as he goes on tour, despite his Alzheimer’s disease diagnosis; it won the award for most popular international documentary. Jacob Tierney’s Preggoland won the award for most popular Canadian feature film; and Suzanne Crocker’s All the Time in the World, about a family that moves to the remote Yukon wilderness, was named most popular Canadian documentary.
Runners-up included Tony Girardin’s Marinoni and Grant Baldwin’s Just Eat It: A Food Waste Story, which earlier in the festival won the juried VIFF Impact Award.
Ana Valine’s Sitting on the Edge of Marlene, which earlier won the BC Emerging Filmmaking Award, was named the recipient of the Women in Film + Television Artistic Merit Award on Friday. The jury called it “a visual masterpiece dripping with Ana Valine’s lyrical artistic voice from the very first frame.”
http://www.theglobeandmail.com/arts/film/the-vancouver-asahi-wins-viffs-top-audience-award/article21075148/
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On Friday, October 10, Audience Awards were announced prior to the closing gala screening and The Vancouver Asahi (Dir. Yuya Ishii) received the Rogers People's Choice Award. All of VIFF’s feature films were eligible for the Rogers People’s Choice Award, with festival-goers casting post-screening ballots.
At the final screening of The Vancouver Asahi on the same day, Alan Franey, the Director of Programming announced that the movie will be shown again in December.
http://jccabulletin-geppo.ca/vancouver-asahi-wins-the-top-audience-award/
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In a surprise to absolutely no one, The Vancouver Asahi was named the winner of the Roger's People's Choice Award at the 33rd Vancouver International Film Festival.
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This year, the Vancouver International Film Festival (VIFF) screened the world premiere of The Vancouver Asahi (Bankuba no Asahi). Directed by Ishii Yuya (who won Best Director at the 2013 Japanese Academy Awards for The Great Passage) and starring Japan’s Tsumabuki Satoshi and Kamenashi Kazuya, the film gained a lot of attention in Vancouver for its incredible cinematic force and its star-power (Tsumabuki and Kamenashi may or may not have been met with screaming fans).
Co-produced by Japan and Canada and based on a true story, The Vancouver Asahi is a powerful film for its historical underpinnings, but especially in how the film brings new life to that history, retelling the story of the Vancouver Asahi with utter candour, grace, and humour—not to mention a seriously outstanding score (thank you, Watanabe Takashi).
The Vancouver Asahi were a Japanese Canadian baseball team. Formed in 1914 and made up of nisei living in the Powell Street area of Vancouver (then known as Japantown, now more commonly known as an area of the Downtown Eastside), the Asahi won victory after victory in the Pacific Northwest amateur leagues throughout the 1930s.
However, in 1942, everything changed. The government of Canada responded to Japan’s attack on Pearl Harbour by passing the order-in-council that led to the internment of thousands of Japanese Canadians. The team was disbanded and never played together again.
Since then, the Vancouver Asahi have been inducted into the Canadian Baseball Hall of Fame (2003), the BC Sports Hall of Fame (2005), and designated an Event of National Historic Significance (2008). On September 18, 2011, a plaque marking the team’s significance was unveiled in Oppenheimer Park, the site of the team’s baseball diamond.
Deeply evocative and charmingly playful, the film tells the story of the Vancouver Asahi, their losses, their comebacks, and their famous “brain ball.”. More particularly, it follows the journey of Reji / Reggie (Tsumabuki), the Captain of the team, as he navigates the racially-charged, wartime environment of 1930s Vancouver.
Living with his family in the Powell Street area and playing baseball with his friends in Oppenheimer Park, Reji is faced with everything from cross-generational tension and family drama to overt racism and the pressure to assimilate. The other Asahi players—Kei (Katsuji Ryo), Tom (Kamiji Yusuke), and Frank (Ikematsu Sosuke), to name a few—face their own challenges, all of which contextualize the nisei and nikkei experience in important ways.
Of course, The Vancouver Asahi is by no means ambivalent to its status as art. On the contrary, Watanabe’s score, with its jazz influences (is that a stand-up bass we hear?) combined with those familiar, sweeping, cinematic strings, captures in music what we see on the screen—which, of course, is its own treat. Filmed primarily in Ashikaga, Tochigi Prefecture, Japan, on sets recreated as Vancouver’s Japantown circa 1930-1941, Oppenheimer Park, Powell Street, the wharf, Reji’s house, each and every set, is remarkably detailed. This is to say nothing of the acting performances.
Truth be told, though, the innovatively jazz-infused score evinces the fact that the music isn’t from the 1930s. To a Vancouverite, the Oppenheimer Park and the Powell Street that we see on screen are clearly not the real park or the real street. And yes, every actor’s English is laden with a strong Japanese accent. However, the film’s great direction hardly makes that noticeable. At once present and past, fictional and historical, even Japanese and Canadian, The Vancouver Asahi establishes itself as art for its ability to transcend these circumstances and communicate raw human experience.
In other words, the artistry of the film is its historical significance: what it felt like to be Japanese Canadian during World War II, and one famous baseball team’s response to that feeling.
A testament to its impact, The Vancouver Asahi won the 2014 VIFF Rogers People’s Choice Award. To be sure, whether you are a history, baseball, or movie buff, The Vancouver Asahi is just one of those films—you’ll laugh, you’ll cry, and you’ll be one of the team. You may even want your very own Asahi jersey by the end.
http://nikkeivoice.ca/vancouver-asahi-review/
Baseball film hits home run at VIFF
Pitcher Roy Naganishi (Kazuya Kamenashi, foreground) ponders the 1937 season with his teammates in The Vancouver Asahi, a new film about a legendary Japanese-Canadian baseball team. It took home the audience choice award for best film at the 2014 Vancouver International Film Festival.
The winners of the 2014 Vancouver International Film Festival
Pitcher Roy Naganishi — played by Kazuya Kamenashi, second from left — ponders the 1937 season with his teammates in The Vancouver Asahi, a new film about a legendary Japanese-Canadian baseball team.
A look at the winners at 33rd annual Vancouver International Film Festival:
AUDIENCE AWARDS
Rogers People’s Choice Award
The Vancouver Asahi (director Ishii Yuya)
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VIFF: Vancouver Asahi looks at Japantown’s most storied baseball team
BY JOHN MACKIE, VANCOUVER SUN SEPTEMBER 26, 2014
The Vancouver Asahi
Sept. 29 at 6:30 p.m. and Oct. 4 at 2:30 p.m. | The Centre in Vancouver for Performing Arts
Oct 10, 1 p.m. | Vancouver Playhouse
Japanese-Canadians were allowed to bring a single suitcase of their belongings when they were “evacuated” from the west coast during the Second World War.
Instead of packing photographs and family heirlooms, the catcher for Japantown’s Asahi baseball team, Ken Kutsukake, brought his uniform, cleats, mask, chest protector and glove.
This illustrates the importance of the Asahi to Vancouver’s Japantown before the war. In an era when Japanese-Canadians often faced racism, the Asahi’s victories over white teams made them the pride of Little Tokyo.
It’s a classic underdog story, one that could have been scripted by Hollywood. And now it’s the subject of a movie: The Vancouver Asahi.
The wrinkle is, it isn’t a Hollywood movie, or even a Canadian movie. The Vancouver Asahi is a new feature from Japan.
The two-hour film has its world premiere Monday, Sept. 29 at the Vancouver International Film Festival. Filmmaker Ishii Yuya and stars Satoshi Tsumabuki and Kazuya Kamenashi will be jetting across the Pacific for the gala opening at the Centre for Performing Arts.
From a Vancouver perspective it’s a fascinating film. Beautifully shot, it recreates a lost world in Japantown, when Powell Street was all Japanese businesses and the Powell Street Grounds (today’s Oppenheimer Park) was a baseball park filled with throngs of Asahi fans.
The movie tries to capture the full Japanese-Canadian experience, from the Japanese workers in the local fishing industry and lumber yards to the men who journeyed to remote camps in search of a paycheque.
There’s tension between the older Japanese immigrants who never really integrated into Canadian society and their children who feel Canadian, not Japanese. Overshadowing both are world events including the depression and the Japanese invasion of China, a prelude to Japan’s attack on Pearl Harbor and Hong Kong four years later.
It’s a gloomy world, dark and crowded and not filled with much time for play. Sadly beautiful, with sets as elegant and detailed as period TV series such as Boardwalk Empire or Deadwood.
The story is delivered as a melodrama, condensing a couple of decades of the Asahi’s history into a single year (1937) for dramatic effect.
When we meet them, the team is hopeless, too small to compete with the Paul Bunyans who populate the white teams. But they turn things around when leader Reggie Kalahari accidentally discovers the power of the bunt. Before too long the Asahi are playing “brain ball,” bunting and stealing bases and defeating opponents with the suicide squeeze and impeccable defence.
It’s largely bunk: the Asahi were champions of the Terminal City league as far back as 1926, and by 1937 were a long-established local powerhouse.
The Japantown of the movie also looks more like Cambie and Cordova in Gastown than Powell and Dunlevy in Japantown. There’s a bar called The Beehive near from the Powell Street Grounds that never existed — it looks like somebody transplanted the old Rex Theatre facade from Hastings Street to Japantown. Most of the movie seems to have been shot at sets in Tokyo rather than the actual Vancouver neighbourhood.
But hey, that’s Hollywood, Tokyo-style. The Vancouver Asahi takes some liberties with the facts, but it’s still pretty engrossing, if only as a Japanese take on the Japanese-Canadian world in Vancouver before the Second World War.
And if you want real history, you can always check out Sleeping Tigers, an excellent documentary on the Asahi by Vancouver filmmaker Jari Osborne that’s on the National Film Board website.
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VIFF closing gala: Vancouver Asahi nabs top audience award
The Vancouver Asahi, based on the true story of a Japanese Canadian baseball team during the 1930s, broke attendance records as it made its world premiere in VIFF.
At the VIFF closing gala, The Vancouver Asahi , a feature film based on the legendary Japanese-Canadian baseball team prior to the Second World War, won the Rogers People’s Choice Award.
The film, set in the 1930s, follows the story of Vancouver's Japanese-Canadian baseball team, the "Asahi", which started off being dismissed by other teams but soon rose to popularity and eventually won five consecutive championships before they were interned with other Japanese Canadians during the Second World War.
Other winners were announced at the closing Gala preceding the screening of the award winning film Whiplash by U.S. director Damien Chazell, about a young drummer who dreams of becoming the best, and his abusive instructor who pushes him to the limits.
Damien Chazelle introduced his award-winning film Whiplash at the Closing Gala.
TV host Riaz Menghji announced the Rogers People's Choice Award.
Sitting on the Edge of Marlene by Ana Valine was granted the Women in Film + Television Artistic Merit Award.
At the VIFF closing gala, The Vancouver Asahi , a feature film based on the legendary Japanese-Canadian baseball team prior to the Second World War, won the Rogers People’s Choice Award.
The film, set in the 1930s, follows the story of Vancouver's Japanese-Canadian baseball team, the "Asahi", which started off being dismissed by other teams but soon rose to popularity and eventually won five consecutive championships before they were interned with other Japanese Canadians during the Second World War.
Other winners were announced at the closing Gala preceding the screening of the award winning film Whiplash by U.S. director Damien Chazell, about a young drummer who dreams of becoming the best, and his abusive instructor who pushes him to the limits.
Damien Chazelle introduced his award-winning film Whiplash at the Closing Gala.
All of VIFF’s feature films were eligible for the Rogers People’s Choice Award, with festival-goers casting post-screening ballots.
Glen Cambpell: I'll Be Me (dir. James Keach) won the Most Popular International Documentary Award while Preggoland (dir. Jacob Tierney) took home the Most Popular Canadian Feature Film Award.
All the Time in the World (dir. Suzanne Crocker) took home the Most Popular Canadian Documentary Award.
Runner-ups in the last category are Tony Girardin's Marinori and Grant Baldwin's Just Eat It: A Food Waste Story.All the Time in the World (dir. Suzanne Crocker) took home the Most Popular Canadian Documentary Award.
Sitting on the Edge of Marlene by Ana Valine was granted the Women in Film + Television Artistic Merit Award.
The Women in Film + Television jury included Rachelle Chartrand (screenwriter), Mary Margaret Frymire (director) and Lisa Ovies (producer/director). Valine previously won the BC Emerging Filmmaker Award.
Everything Will Be by Julia Kwan won an Honourable Mention for Best BC Film Award.
http://www.vancouverobserver.com/news/viff-closing-gala-vancouver-asahi-nabs-top-audience-award
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The Vancouver Asahi wins VIFF’s top audience award
Other audience winners announced Friday include James Keach’s Glen Campbell: I’ll Be Me – which followed the legendary country singer as he goes on tour, despite his Alzheimer’s disease diagnosis; it won the award for most popular international documentary. Jacob Tierney’s Preggoland won the award for most popular Canadian feature film; and Suzanne Crocker’s All the Time in the World, about a family that moves to the remote Yukon wilderness, was named most popular Canadian documentary.
Runners-up included Tony Girardin’s Marinoni and Grant Baldwin’s Just Eat It: A Food Waste Story, which earlier in the festival won the juried VIFF Impact Award.
Ana Valine’s Sitting on the Edge of Marlene, which earlier won the BC Emerging Filmmaking Award, was named the recipient of the Women in Film + Television Artistic Merit Award on Friday. The jury called it “a visual masterpiece dripping with Ana Valine’s lyrical artistic voice from the very first frame.”
http://www.theglobeandmail.com/arts/film/the-vancouver-asahi-wins-viffs-top-audience-award/article21075148/
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Vancouver Asahi Wins the Top Audience Award
On Friday, October 10, Audience Awards were announced prior to the closing gala screening and The Vancouver Asahi (Dir. Yuya Ishii) received the Rogers People's Choice Award. All of VIFF’s feature films were eligible for the Rogers People’s Choice Award, with festival-goers casting post-screening ballots.
At the final screening of The Vancouver Asahi on the same day, Alan Franey, the Director of Programming announced that the movie will be shown again in December.
http://jccabulletin-geppo.ca/vancouver-asahi-wins-the-top-audience-award/
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VIFF 2014: Vancouver Asahi is the people's choice
In a surprise to absolutely no one, The Vancouver Asahi was named the winner of the Roger's People's Choice Award at the 33rd Vancouver International Film Festival.
The award was announced on Friday (October 10) prior to the gala closing night screening of Whiplash at the Centre.
As the 10-day fest wrapped up, audience choice awards also went to Glen Campbell: I'll Be Me (Most Popular International Documentary), All the Time in the World (Most Popular Canadian Documentary), and Preggoland (Most Popular Canadian Feature Film).
Described by the jury as a "visual masterpiece", Ana Valine's Sitting on the Edge of Marlene was also given the Women in Film + Television Artistic Merit Award.
VIFF's other jury awards were announced last Thursday (October 2) and Saturday (October 4).
http://www.straight.com/movies/748376/viff-2014-vancouver-asahi-peoples-choiceAs the 10-day fest wrapped up, audience choice awards also went to Glen Campbell: I'll Be Me (Most Popular International Documentary), All the Time in the World (Most Popular Canadian Documentary), and Preggoland (Most Popular Canadian Feature Film).
Described by the jury as a "visual masterpiece", Ana Valine's Sitting on the Edge of Marlene was also given the Women in Film + Television Artistic Merit Award.
VIFF's other jury awards were announced last Thursday (October 2) and Saturday (October 4).
================================================
VIFF 2014: Ishii Yuya’s ‘The Vancouver Asahi’ shines at world premiere and People Choice Award
15 Oct 2014
This year, the Vancouver International Film Festival (VIFF) screened the world premiere of The Vancouver Asahi (Bankuba no Asahi). Directed by Ishii Yuya (who won Best Director at the 2013 Japanese Academy Awards for The Great Passage) and starring Japan’s Tsumabuki Satoshi and Kamenashi Kazuya, the film gained a lot of attention in Vancouver for its incredible cinematic force and its star-power (Tsumabuki and Kamenashi may or may not have been met with screaming fans).
Co-produced by Japan and Canada and based on a true story, The Vancouver Asahi is a powerful film for its historical underpinnings, but especially in how the film brings new life to that history, retelling the story of the Vancouver Asahi with utter candour, grace, and humour—not to mention a seriously outstanding score (thank you, Watanabe Takashi).
The Vancouver Asahi were a Japanese Canadian baseball team. Formed in 1914 and made up of nisei living in the Powell Street area of Vancouver (then known as Japantown, now more commonly known as an area of the Downtown Eastside), the Asahi won victory after victory in the Pacific Northwest amateur leagues throughout the 1930s.
However, in 1942, everything changed. The government of Canada responded to Japan’s attack on Pearl Harbour by passing the order-in-council that led to the internment of thousands of Japanese Canadians. The team was disbanded and never played together again.
Since then, the Vancouver Asahi have been inducted into the Canadian Baseball Hall of Fame (2003), the BC Sports Hall of Fame (2005), and designated an Event of National Historic Significance (2008). On September 18, 2011, a plaque marking the team’s significance was unveiled in Oppenheimer Park, the site of the team’s baseball diamond.
Reggie Kasahara is the film’s focus, but his story is fraught with family drama and racial tension.
Living with his family in the Powell Street area and playing baseball with his friends in Oppenheimer Park, Reji is faced with everything from cross-generational tension and family drama to overt racism and the pressure to assimilate. The other Asahi players—Kei (Katsuji Ryo), Tom (Kamiji Yusuke), and Frank (Ikematsu Sosuke), to name a few—face their own challenges, all of which contextualize the nisei and nikkei experience in important ways.
Of course, The Vancouver Asahi is by no means ambivalent to its status as art. On the contrary, Watanabe’s score, with its jazz influences (is that a stand-up bass we hear?) combined with those familiar, sweeping, cinematic strings, captures in music what we see on the screen—which, of course, is its own treat. Filmed primarily in Ashikaga, Tochigi Prefecture, Japan, on sets recreated as Vancouver’s Japantown circa 1930-1941, Oppenheimer Park, Powell Street, the wharf, Reji’s house, each and every set, is remarkably detailed. This is to say nothing of the acting performances.
Truth be told, though, the innovatively jazz-infused score evinces the fact that the music isn’t from the 1930s. To a Vancouverite, the Oppenheimer Park and the Powell Street that we see on screen are clearly not the real park or the real street. And yes, every actor’s English is laden with a strong Japanese accent. However, the film’s great direction hardly makes that noticeable. At once present and past, fictional and historical, even Japanese and Canadian, The Vancouver Asahi establishes itself as art for its ability to transcend these circumstances and communicate raw human experience.
In other words, the artistry of the film is its historical significance: what it felt like to be Japanese Canadian during World War II, and one famous baseball team’s response to that feeling.
A testament to its impact, The Vancouver Asahi won the 2014 VIFF Rogers People’s Choice Award. To be sure, whether you are a history, baseball, or movie buff, The Vancouver Asahi is just one of those films—you’ll laugh, you’ll cry, and you’ll be one of the team. You may even want your very own Asahi jersey by the end.
http://nikkeivoice.ca/vancouver-asahi-review/
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