Selected Films 2018

dir. by Ava ST.Pierre
International Short Documentary

Slavery (5m, Hungary)
dir. by LittnerBudapest LittnerBudapest
International Animation Fiction

Third Option (12m, U S A)
dir. by Anjini Azhar
sub. by Anjini Azhar on 2018-01-19 11:22
International Short Fiction

(A)neethi (18m, India)
dir. by Sriram KanchanaThangaraj
Debutante Director Short Fiction

GAON (129m, India)
dir. by Gautam Singh
Debutante Director Feature Fiction

Carcasse (60m, Iceland, France)
dir. by Gústav Geir Bollason
International Feature Documentary

Disappearances (4500m, France, Israel)
dir. by Anat Even
International Feature Documentary

Father’s Kingdom (94m, U S A)
dir. by Lenny Feinberg
International Feature Documentary

BIGLY YELLOW (62m, Australia)
dir. by Nigel Deans
International Feature Documentary

Somewhere in Tonga (97m, Germany)
dir. by Florian Schewe
International Feature Fiction

The Train Hamasen (8m, Taiwan)
dir. by Kuan Yuan LAI
Virtual Reality VR

Westwind: Djalu’s Legacy (82m, United Kingdom, Australia)
dir. by Ben Strunin
International Feature Documentary

The Pitts Circus Family (94m, Germany, Ireland, Switzerland)
dir. by Kenneth Fanning
International Feature Fiction

Daddy Issues (88m, U S A)
dir. by Amara Cash
Debutante Director Feature Fiction

Finding Rahmat (101m, Malaysia)
dir. by Al Jafree Md Yusop
International Feature Fiction

Blind & Ugly (99m, Germany)
dir. by Tom Lass
International Feature Fiction

Night Dancing (6m, United Kingdom)
dir. by Barney Cokeliss
International Short Fiction

The Squealer (96m, U S A)
dir. by William Sparks
International Feature Fiction

CORKY (6m, U S A)
dir. by Ty Primosch
sub. by Ty Primosch on 2017-06-18 14:22
International Animation Fiction

Asian Critics Week

Asian Critics Week is an annual three days event conference of filmmakers.
In 2019, the ACW will be held at ICCR in Kolkata, from the 6th to 8th July. After the very successful inaugural year, ACW is back with a bang.

Over the three days, screenwriters, filmmakers, producers, practitioners, actors and executives congregate to share ideas, build powerful relationships, hear pitches and get a creative shot in the arm.

The Main Events
During the three days of the festival, there will be structured seminars, lessons and workshops.

You do not need to book a place for any of these sessions, they are all on a first come, first seated basis. We will try and give you advance warning about these sessions so you can get there early if you want to attend.

Between Screening and sessions, there are half-hour breaks, with a seventy-minute break for lunch. Onsite, there is breakfast, lunch and dinner available, plus drinks, tea and coffee. The breaks are a great opportunity to network with delegates and speakers.

Networking dinner (Friday and Saturday of the festival) which most delegates and many speakers will attend. It’s a chance to unwind, consolidate old relationships and create new relationships.

Additionally, on the Thursday night before the official opening of the festival, there is a networking party where you can pick up your pass early.

On the Sunday night of the festival, we will host The Grand Jury Awards.

As a festival participant, you are invited to attend the awards on the Sunday night of the festival.

We will also film most sessions so you don’t miss out. These sessions form an ever-growing library of world-class seminars and workshops that are available to delegates only.

This year we will be looking for reasons behind the following questions.

What do our audiences really want Film Festivals to be?

What do filmmakers really want from Festivals these days?

Very few can be markets or premieres, even publicity machines. How can we deepen the utility of festivals for the creative community?

Festivals deliver intelligent and engaged audiences to the films. Can we deepen the relationship between the fans and the creators?

How do we utilize cinema’s power to activate?

Can we work together so that films gain better momentum festival to festival and unleash the power of the combined festival community in some way?

Are we utilizing the strength of the festivals as an information gathering and dissemination tool as fully as we might?

What information is not being gathered when we collect films and crowds and can we change that?

This is the data age. Are we embracing transparency as fully as we might?

As trusted curators of this colossal heap of cinema culture, how do we really make a difference on a long term basis?

Is a short burst of guidance enough?

Growth requires consistency and do we provide that?

We are the filter, the trusted source. Film festivals are discovery platform for films that might otherwise be ignored. How to carry that over to the online environment?

How do we transform young people into loyal cinema lovers?

We are losing the youth. Can we stem the tide?

Directors’ Fortnight Kolkata is also on a mission to redefine single screen theaters to transform into the moneymaking powerhouse of Artistic value driven films. We understand and resonates with today’s youth, they found watching cinema in theater ‘boring’. We believe every time they visit a theater should inspire them to visit again, in order to keep them engaging the theaters should offer them an ‘experience’ instead of just screening. So this year our festival screening place will become an extraordinary factor for the festival. With the help of Award winning visual artists from India during the month of April we are going to achieve this transformation

Join us for this questions driven festival for more answers.

Open for entries

Asian Critics Week is a festival of Film Critics, celebrates the power of film criticism.

Filmmaker and Film business professionals throughout the world will join us in this artistic carnival of the film. We are looking for intriguing rooted films with universal appeal, we are now open for entries.

We are here to support independent filmmaker in an independent way. If we love your work we will bleed, we will sweat to spread the word about your film this is the only commitment from our side.

Why can’t we change the world when we know we can.

The programme will feature a wide range of extensive filmmaking hardwork curated by the festival articsic director for the world. We are looking for films which will impact our heart and disturb our mind. We are here for you because your ambition is our motivation.

Submit Now



Asian Critics is an organization of young art critics. We bleed for supporting exceptional art practice.
In this media driven industry, this is a much-needed approach towards unbiased criticism.

Film critics for established online publications will say that the Web has given a new home to film criticism. Off the record, many of those same critics will tell you their jobs depend on securing advertiser-pleasing hits by lavishing coverage on the worst of what’s out there, especially the superhero and fantasy movies. Editors hope to attract hits by feeding into a movie’s prerelease hoopla. What a critic actually thinks about the movie is often drowned in the ongoing publicity deluge. If a publication’s critic declines to join in the publicist-generated excitement over The Green Lantern or the fifth Pirates of the Caribbean, the editor can always find a writer, usually a young one looking to get a byline, to whip up the mindless sort of “Five Great Superhero Movies” list that guarantees traffic. Editors then point to the number of hits generated by this as proof that what the readers really want is coverage of the big movies—whether or not there’s been coverage of anything else to choose from. All this deprives critics of one of the main functions of their job: to alert readers to different kinds of work. And because maintaining advertising dollars depends on keeping the clicks coming, it’s easy for even good editors to make their publication a tool of the studio publicists.

Get In Touch

Filmmakers – Fine art practitioners –  Musicians – Sound Artists
Get connected stay connected. Together we will build a strong community.

Feel free to get in touch with us.