The seventeenth edition of CinemAsia – how was it? Soft news reporter Jasmine Lin discusses the festival’s role in connecting Asian filmmakers with the Dutch film landscape.

The 17th edition of the CinemAsia Film Festival took place March 6-11 in Amsterdam, showcasing a diverse selection of Asian films for  Dutch audiences. Over six days, the festival presented 38 selected films, encompassing 27 feature and 11 short films, reflecting its dedication to highlighting diverse narratives and emerging talents from Asia. The festival opened with Happyend, a futuristic drama by Japanese-American filmmaker Neo Sora. Set in a near-future Tokyo threatened by a catastrophic earthquake, the film follows two high school friends, Kou and Yuta, as they navigate unexpected turns in their lives. Neo Sora attended the festival and engaged with audiences in a post-screening discussion, providing insights into the film’s themes and production process. Wrapping up the event was Fly me to the Moon, a moving drama by Hong Kong director Sasha Chuk, which received critical acclaim for its poignant storytelling and rich character exploration. Sasha Chuk was also present at the festival, interacting with audiences, sharing her inspirations and the challenges of crafting such an intensely personal narrative.

The first edition of CinemAsia was in 2004. Since then, CinemAsia has been integral to Amsterdam’s cultural scene, enhancing the visibility of Asian narratives within the Netherlands. Founded by Doris Yeung, the festival began as a biannual event and transitioned to an annual schedule in 2012, reflecting its growing prominence. The festival’s mission encompasses both cultural and societal objectives: enriching the Dutch film landscape with Asian cinema and providing a creative platform for Dutch Asians and content creators. CinemAsia’s commitment to representation is evident through initiatives like the FilmLAB, established in 2006 to support young Asian talent in bringing their stories to the screen. This program connects emerging filmmakers with the Dutch film industry, fostering diversity and cross-cultural collaboration.

This year, the festival continued its commitment to showcasing diverse Asian stories through its New Visions section, which highlighted ten emerging directors exploring innovative storytelling techniques. A notable entry in this section was The Glassworker, a beautifully animated Pakistani film directed by Usman Riaz. Drawing comparisons to Studio Ghibli’s works, the film followed a young glassblower and his father as they navigated love and war in a rapidly changing world. The film’s intricate animation and heartfelt narrative captivated audiences, marking a significant achievement in Pakistani cinema. Attendees participated in Q&A sessions with international filmmakers, networking events and discussions on the challenges and opportunities in Asian filmmaking.