PUFF's blog for film buff


film festival

LeEco and PUFF announce collaboration 樂視與菠蘿電影節合作推出獨立電影專題

Prickly and juicy indie films bring you a refreshing viewing experience

(Hong Kong, Jun 1, 2016) – LeEco and The Pineapple Underground Film Festival (PUFF) are excited to announce Hong Kong’s first art house and experimental film festival VOD feature page: PUFF. The page will be launched on June 2nd, 2016 and it will feature its first batch of 12 films from Spain, South Africa, France, Australia, Japan, Argentina, USA and Hong Kong. Le VIP members could enjoy the movies via Le SuperTV, Le Superphone and Le TV Box without additional charge.

LeEco is proud to launch the feature page with PUFF, not only because all the films are Hong Kong premieres, but the programs are curated by an independent film festival that had its beginnings here in Hong Kong”, says Tin Mok, CEO for APAC at LeEco,” We believe that every movie are precious and unique for filmmakers. This is so honor to be a platform which allow more indie and niche movies to be shown to the audience.”

PUFF’s founder Gina See-Yuen Wong says “We are so proud to collaborate with LeEco. LeEco’s ecosystem and online platform is a major force and it started a revolution in how indie films are shown and presented to the audience. The network transformed and changed who and how creative works are now being made and viewed. “

The concept of PUFF started when their founders were eating at a “dai pai dong “( a type of local fast food in Hong Kong) and realized that there are no bold and independently funded festivals in Hong Kong at that time. The founders, themselves also indie filmmakers, thought that many young brilliant filmmakers wants to show their films in a new format too. PUFF started with 21 films in 2011, and had since grown to feature more than 86 films for their PUFF 2015 editions. The direction of PUFF”s program is edgy and avant-garde ; with a special taste for those who like weird ways of storytelling. PUFF founders also personally travelled the world to meet these filmmakers in person and to take their films to Hong Kong for our audience.


清爽多汁另類電影 為你帶來破格視覺體驗

(香港,201661) LeEco樂視菠蘿電影節(The Pineapple Underground Film Festival, PUFF) 攜手宣布將設立香港第一個以藝術和實驗電影為主題的專題頁PUFF。專題頁將於明天(62)正式登陸樂視香港版UI,第一批來自西班牙、南非、法國、澳大利亞、日本、阿根廷、美國和香港的12部另類電影將率先上線,例如以西班牙「廢青」為主題的登山者故事「神奇登山者 El Alpinista」、以狗隻角度講述被主人拋棄的兩分鐘短片「48K」等。樂視的超級影視會員屆時可透過樂視超級電視、超級手機及樂視盒子隨時點播,絕不錯失任何精彩一幕!


菠蘿地下電影節的創辦人Gina 黃思源說:「我們很榮幸能與樂視合作,推出 PUFF 專題。樂視生態及其網上平台,是一股很重要力量它開展了一場電影放送的革命。網絡世界的變革,改變了原有電影及藝術錄的創作模式也給予觀眾更多自主空間,去自定欣賞評審作品的方式。」




Submission to 2015 Festival is now on!

Spread the word, we want to see your work in this year’s festival! Submission is now open through to September with the dates of the festival set on November 2015.

This year, all submissions are made through Withoutabox, please use the following link to proceed:

All enquiry please send to

PUFF 2014 program for Hong Kong

It’s here finally! Program for PUFF 2014 Hong Kong:

PUFF announces winners for 2013

The Pineapple Underground Film Festival is proud to announce the winners for 2013.

The PUFF Indie Awards goes to El Effecto K (120min, Spain), The Mute (98min, China) and Sonata (15min, Spain), with Special Mention goes to Lapsus (30min, France) and Documentary Daughter of the Niger Delta (55min, Nigeria). The Sound and Original Score Showcase will be presenting 4 films: The Lives of Hamilton Fish (94min, USA), Idiots (19min, USA), Disappear (9min, Hong Kong) and Voices (4min, Bahrain). Audience award goes to Idiots (19min, USA)


El Efecto K, directed by Valenti Figueres Jorge, had its Asia Premiere at PUFF. Using archival footages, blending documentary and narrative fictional parts, the most significant events of the 20th century was told through Hollywood producer and Stalin’s own film editor/superspy Maxime Stransky.

PUFF says “ This is an odyssey that brought the audience through a journey of an illusionary and dreamlike mix of reality and false documentary. The filmmaker’s interpretation of the Kuleshov editing style manipulated the raw materials within a medium, thus created an aesthetic experience that made the historical content to be of secondary importance but a work that resonates emotions in the audience.“

The Mute 2

The Mute had its International Premiere at PUFF. It is a stylish psychological thriller shot in Shanghai by first time filmmaker ArisTo. PUFF says “ An outstanding beginning ten minutes followed by a good and progressive pace of the script, unfolding into an intense finale. The tenderness of young love, the suspense and use of music makes this an exceptional first attempt in filmmaking.“


Sonata also premiered internationally at PUFF. Inspired by Kreutzer Sonata by Tolstoi, Sonata explores the society’s norm of exclusive preference for one person and whether that equates true love.

PUFF says “ powerful and daringly rummaging in each of our souls, the human hearts, nature and true love. Or, as the film shows, that the word love itself is barely sufficient to describe our feelings. This ambitious short film peals away the lies and deceits in our hearts; that what we desire, we did not know. “

PUFF also pays homage to women filmmakers and filmmakers who live in countries where access to films, training and equipment is a challenge.  The Lives of Hamilton Fish (World Premiere )  is a feature length rock and opera musical written and sung by Rachel Mason from New York. Curated by Experimenta, a video and film art space in Hong Kong, the film was screened with Rachel singing live in Hong Kong.

Daughters of the Niger Delta (International Premiere), supported by the German Embassy in Abuja in Nigeria, was made by 9 first time woman filmmakers.  Their desperate struggle and everyday injustice is a revolution which will affect more than 50% of the world’s people.  The extent of poverty, sexual harassment and sexual mutilation, discrimination that is still wildly accepted as norm for women, will hopefully one day be only found in history books.

Interviews of the winners will be published on our website and on Facebook in the coming week.  A separate piece on the other short and experimental films will be published soon.  Please stay tuned.

PUFF presents in BLUE RAY

The Italian Apartment (72 min,Italy)  and Waves (63 min,UK)

International and Asia Premiere
By Invitation Only

Monday 17th June 2013



About Waves
An extraordinary story of a deep alchemical connection of an emotionally repressed woman who lives in London and a fisherman, trapped on a Seychelles island after a shipwreck. They have never met each other; death their only choice to re-birth as one.

About Italy Belong to Us
Only when we approach the end of our lives do we realize what are the truly treasurable things in life. This is the philosophical theme this exquisitely made film sets out to explore.

A filmmaker, after discovering his terminal illness, returned to his home town to look for inspirations to shoot his last film. He asked people to tell him stories about Italy. The lively stories being told contrasted with the meditative, reflective mood will surely made an impression on you and make you ponder about the purpose of your life.


Blue Ray Special Event for members
Blue Ray Special Event for members
PUFF Experimental Films
PUFF Catalogue

PUFF short film program: cool film & hot filmmaker

Cold Turkey ( 14min, 2013) by Arnarsson
Cold Turkey ( 14min, 2013) by Arnarsson

1. Your film is gruesome but it has a certain kind of humour too; is this your way of expressing a feeling of this world ?
The humor in COLD TURKEY is a way for me to retain the serious tone of the film. Cannibalism is an extremely serious and often taboo subject matter so I felt I needed some humor to make light out of it. I wanted to provoke certain uneasiness and serious thought but also amusement. I have always felt that these types of films allow you to engage in an interesting emotional experience, one that includes both laughter and discomfort, sometimes simultaneously. In that sense, the humor in the film is just another way for me to play the audience. I am simply the orchestra conductor and the audience´s reactions are my orchestra. I hope to make them laugh one moment and be horrified the next.
2. What kind of movies have you been watching to inspire this film ?
I re-watched some films that have made me ambivalent in terms of sympathy and antipathy for its protagonist. There is this obsession in traditional Hollywood filmmaking of a heroic and easily relatable protagonist. I am not interested in painting such characters or so called cardboard cutouts that are an absolute type. I am more interested in the shades of grey that create a multifaceted person. I feel that characters that alternate more between good and bad sides in him- or herself often come across as more real. So when I decided I wanted to create a film about a cannibal, I did not want to portray him simply as a cold-hearted killer. Instead I wanted to enable an audience to see something decent in Adam (Brynjar Holdversson). After all we are all only human and I believe pure evil is just as unattainable as a pure good. Therefore, I watched some films to figure out how I could expand Adam and his actions enough to where the audience could actually question whether he is ‘’good’’ or ‘’evil’’.
3. Tell us a little about your life and other coming new projects.
I am from Iceland but live in Boston. Right now I am back home in Iceland ; I am finishing up two short film scripts. I can´t tell you exactly what they are about. But I definitely plan to keep exploring the combination of the gruesome with some humor.
Thor Arnarsson


Videos & Sound Installations

23-27 MAY 2013 (Thursday  through Monday)  12-7pm

Gabriel Hošovský (Slovakia)/ Gheorghe Sfaiter (Romania) / Jonathan Ebron (Hong Kong)

Routinely and efficiently, Gabriel Hošovský (above photo) paves the way to his own downfall as he cuts off the branches he is sitting on. An understandable practice, it seems, for those who have lived behind the Iron Curtain. These performances, which are enacted in a post-Soviet scenario, affect the viewer as if they were the alarming message of a worldly-wise man.

It doesn’t matter if the rhetorics of socio-economic crises prove to be correct or not – or  are we going to act as clever as he does ?

A summary of questions about existence and security of the future via their own steps.

Hošovský’s rule #1 says: ‘Life goes on.’  Hošovský lives and works in Bratislava, Slovakia

Experimenta : Your work is intense and you have put yourself in danger while filming it. Could you tell us your life experience that made you perform this work?

Gabriel Hošovský : Maybe it was from a desire for touch and danger as basic modes of existence. This is one of my several projects in which I seek answers to questions about our existence, what we do here and how we live. I try to answer these questions and to express them as clearly and as simply as possible. For me, the videoMiscellany XIII. brings simple and clean ways of acting to the edge of my experience while shooting. It is a search of some imaginary ‘zero point’. I am looking for a point that demands that I get rid of all formal elements of art. The question is, how much art is still left?   

portrail_Gabriel_HosovskyWho are the filmmakers or video artists who had inspired you?

I cannot name any particular inspirational source or medium. If I wanted to put my film in context, I would rather mention my series of booklets (Miscellanies) that I have been working on since 2010. My previous projects were not film related, they were photo-, text- and mixed media concepts.

What are your other work and are they related to this work, maybe with the same theme?

As I have mentioned, seeking answers to essential questions – unlike in the art we experience nowadays – is part of my ongoing project to explore fundamental answers using simplified questions, such as: What? Where? What is art? Where is art? – series of photographs from my trip across Europe –Miscellany VIII and IX). I also work with the idea of “lost and found identity” by repainting found works by unknown dead naïve artist who used the same initials, ‘GH’ as I do. Additionally, I look for possible connections between published photographs that never had anything in common; or I intuitively search for new relations between common situations along with the presentation of human characters through their portraits (upcoming video project ‘victims and offenders’).

still_2_film_HOSOVSKY_MiscellanyXIII-1 stil_3_film_HOSOVSKY_MiscellanyXIII

stills from Miscellany XIII , showing at EXPERIMENTA during Art Basel

experimenta gallery map-03

Ten Best Gallery in Hong Kong May 2013 Culture Trip UK

Gheorghe Sfaiter lives and works in Romania. ” First of all I have to mention that this film is my practical application of my PhD, entitled: „Fragmentation, ecletism and deconstruction in visual-cinetic arts” in which I have tried to see how a discrepant editing will work, after Isidor Isou`s model „Venom and Eternity”.

Usually the memory is revealing memories with many uncertainties, especially in the affective zone, so that the image of a further past becomes more or less deceitful. There are moments when you ask yourself:  „is what I remember real or delusional?”

I have lived along with my parents some moments of material deprivation, but what deeply touched me were the lies and the hidious propaganda of the personality`s cult. And almost like a phisical pain was the  lack of freedom of speech.

The found footage reveal a brutal reality, and to answer to your question, judged by the spectators they have a relevancy in the models more close to them, and your remark that the communism works on a tipical model (the soviet one), I`m sure it worked in general the same in Romania as it did in China.

About the sequence with the boy in black and white in the orchard, it is not a social-politic association, it`s more a life tied parabola in the most direct sensorial way, that of the Freudian libido, of the desire itself. In my years of television, I have met people that lived extremly hard times in concentration camps or in deportation, but who still, unwillingly, kept saying: „it was nice that we were young”. So, in this sequence, I try to evoke the spirit of the age, totally separated from social-political context. I kind of suffocation of the will (that is why the boy is represented in black and white, and the rest – the urges – in color).

Yes, a part of the found footage is from the television I work at, and the other part from an amateur cine-club where I began to approach film in the 1970`s, but are not captured by myself.

I would like the film to be presented in a contamporary art gallery, in a big hall with 12-14 screens, suspended on ropes, just like laundry, but in the same planes, and in different dimensions. On these screens I would like sequences of the film projected in a certain succesion, with an initiatory taste. This way, the incert image of the memory would be showed. ”


PUFF’s new interview with Hollywood Director

Aaron Harvey, Hollywood Director & Producer, will be showing his short film at PUFF 2013

Aaron Harvey

Here’s our exclusive interview with him on 11th March 2013

PUFF reporter : Mr Harvey, as a major studio producer/director , could you say a few words about underground film festivals, PUFF or any advice to indie filmmakers ?
Harvey:  well, i would say that i don’t really consider myself a studio filmmaker by any means – considering that the last film i made (CATCH .44) was set-up and financed completely outside of the studio system.
even though there were some big actors and a great crew that came from the studio world, the film itself was actually a relatively small independent film that was privately financed by several investors that the producers had brought to the table.  so in saying that – i still don’t know particularly how the studio system itself works, other than the fact that i try to avoid it as much as possible, because i feel as an independent filmmaker – if you want to remain autonomous and regain as much creative control as possible – then the studio system isn’t set-up to help you.
Aaron Harvey 5
it’s not like PUFF or any of the other interesting, accessible festivals that offer creative people an outlet for their work – without fear of any commercial stigmas or backlash.  in that sense, the independent film world is a much more free and creative environment and one that i personally would much rather work in.  in today’s film landscape, remaining as independent as possible, in my opinion, yields the best work and the most creative satisfaction.  there’s definitely a blend in the studio world, if you manage to become a filmmaker as big as christopher nolan or ben affleck, where they studio will finance your pictures and give you full autonomy – but unless you’re at that level of filmmaking, keep sharpening your skills and honing the craft in the independent world.  then make the studio system come to you, versus trying to knock on it’s door.
in terms of advice to aspiring filmmakers – create honestly.  write what you’d want to see.  direct what you’d want to see – then let others get on board with your vision, instead of trying to pander to everyone else.  people recognize honesty and will get behind something that they feel has a direction.  in the case of my last project, i wrote a script that i didn’t think anyone would want to see, but i wrote it honestly – and that attracted the attention of the producers and actors who ended up getting involved in the project.  but i had no intention of it getting any bigger than it did, it just took on a life of it’s own after i wrote (what i perceived to just be a fun little genre) script.  again, i would say, create work that appeals to you first and foremost and with a little luck and timing, you’ll attract the pieces you need to create your vision.
Aaron Harvey 4
 also- don’t turn down opportunity.  be opportunistic.  i’ve made things for $200 and i’ve made things for several million dollars.  but i’ve never passed on an opportunity – because it’s very hard to get someone to finance your art.  and film isn’t painting – it’s not singular.  you need multiple people behind you, weather it’s actors, crew, producers, etc. – generally speaking, that will cost you something.  so if you have the opportunity (i.e. someone gives you the money) to do it, don’t hesitate.  run with it and make whatever you can the best you can with what you’ve been given.  let the talent rise above the limitations.
the last thing i would say is don’t be concerned with making your masterpiece right away.  no one’s a genius right out of the gate.  even our favorite filmmakers who we all emulate have made shit films, or films that no one remembers at the beginning of their careers.  martin scorsese made 3 or 4 films before he made MEAN STREETS.  jonathan demme made CAGED HEAT, CRAZY MAMA and FIGHTING MAD before he ever made MELVIN AND HOWARD.  william friedkin made GOOD TIMES before he made THE FRENCH CONNECTION.  they all made films just to make films because they were passionate about it – they took the opportunity to make a film and ran with it, versus worrying about weather or not they were making their opus pictures.  sharpen the craft and keep learning and stepping up with each project you make, and before you know it you’ll be filming your own masterpiece.  but it all has to start somewhere – so just get out and do it and create.  don’t worry about the social pressures or what everyone else is going to think about you or the film.
Aaron Harvey 3
PUFF reporter : Could you tell the China audience about your film ?
Harvey : my current short film – IDIOT. – is really a disparate love story.  it’s also a film that thematically i wanted to make because it creates a character blended from this ‘lonely man’ archetype that i love in some of the old films that i love.  i wanted to create my version of travis bickle and forrest gump mixed together.  the main character is a lonely, isolated man who’s just looking for love however he can find it, and becomes infatuated with a woman who works at the local magazine stand.  in a completely mis-guided way, he ends up stalking her and one day following her home, only to realize the hard way that socially it’s not acceptable to do what, in his mind, he thinks to be the right thing.
i wanted to create a character who is also ambiguous to a degree – is this guy a bad guy, or is it just a sweet introverted guy with no clue?  does he really have dangerous intentions, or is he just innocently in the wrong place at the wrong time?  i wanted to end it with those questions still raised as well, hence the ending that throws his world on it’s head.  i also felt like he embodies the frustrations of a lot people today in the world, looking to make connections and shed the loneliness of their own existences – without knowing really how to do that.  and to embody it in a character who’s so animated (the wonderful actor pj marshall), just seemed like an interesting thing for me to shoot at the time, so we went ahead and did it.
this film was made for almost nothing – just a few friends and a weekend.  again, taking an opportunity to go out and create something in the moment, that felt right, was what we did.  hopefully you like our little film as much as we do and can take something away from the film after you watch it.
thank you, Mr Harvey.
Thank you PUFF !
Bio : Aaron Philip Harvey. Born Oct 28 1980, lives in Santa Ana, California, USA

aaron Harvey 2 Aaron Harvey 3 Aaron Harvey 4 Aaron Harvey 5

Feature Highlights 焦點 1 - Re:play-Girls (60min, Japan)

(Category III) High-school student Michi, who wants to end her own life, stumbles into an online suicide chat room, where she decides to buy their special service. She is asked: “Would you like to REPLAY?” and impulsively presses “Yes”, catapulting herself on a quest to her own death in the suicide game, “Re:Play-Girls”.

for ages 18 & above

Other Japanese films in the festival  :

10 JUNE 2012 (60min, Japan at Hidden Agenda 8pm

Dusk of the Peeping Tom 自動性愛機

Directed by : Taku Kuroda

Shy Japanese office man loved his girlfriend but he wanted more.  She cannot be physically touched but she wanted it too.  The only answer to that is a sex machine.


Powered by

Up ↑