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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editing style manipulated the raw materials within a medium, thus created an aesthetic experience that made the historical content to be of secondary importance but a work that resonates emotions in the audience.“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 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. ”


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