Amongst counselling, job assistance, staying clean, and meeting new people, Mike shows us a sympathetic exhibit of the uphill battle that is addiction in Urchin.
Director Oliver Hermanus’ period drama is part romance, part musical, and all ache. Just like the first-person point of view does in Ben Shattuck’s book, the film draws you into Lionel’s (Paul Mescal) emotional sphere.
Robinson rightfully earns the two hours of time and attention from audiences. The film is a slow, ponderous exploration of the real issues that go on in the country: corruption, mistreatment of the working class, and how the church plays into this.
Having premiered at the 2025 Tribeca Film Festival, The Rose: Come Back to Me (2025) is an intimate look at the global rise of the Korean indie rock band, The Rose. I got the chance to talk to the film’s director, Eugene Yi, and producer, Diane Quon, about the band, being Asian American creatives, and filmmaking.
In today’s ever-regressing landscape, Andrew Ahn’s 2025 multi-layered reimagining of The Wedding Banquet is sure to become a fruitful place for vivid responses and discourse. At a roundtable discussion alongside other vibrant AAPI journalists, 0613focus had the opportunity to hear directly from the cast of The Wedding Banquet prior to its official theatrical release on the experiences and themes embedded within their performances.
We spoke to director, writer, and stop-motion artist Lucy Davidson about her experiences watching her film come to fruition, the value of comedy in emotional storytelling, and the influence of personal preferences on creating and developing artistic styles.
Tattoos have different meanings and purposes, but what they do not signify is whether someone is inherently good or evil. So why do so many film and television directors treat them as embodiments of everything wrong with the world?
As an adult who is constantly bogged down by the realities of life and making compromises, My Neighbor Totoro is my go-to escapist film. But more importantly, it is a much-needed lesson in learning how to have faith again, and in being brave and believing.
Andersen’s original tale is tragic, displaying the hefty price of love and selling your soul for immortality, while Disney gives the characters the most fairy tale-like ending. Miyazaki’s more nuanced approach is a profound interpretation that factors in a fresh perspective of youthfulness, nature and its interconnectedness, and a whimsicality that earlier versions don’t have.
