{"id":60828,"date":"2026-01-16T11:12:06","date_gmt":"2026-01-16T10:12:06","guid":{"rendered":"https:\/\/asianfilmfestival.barcelona\/2025\/el-nuevo-cine-asiatico\/"},"modified":"2026-01-16T13:10:40","modified_gmt":"2026-01-16T12:10:40","slug":"el-nuevo-cine-asiatico","status":"publish","type":"post","link":"https:\/\/asianfilmfestival.barcelona\/2025\/el-nuevo-cine-asiatico\/","title":{"rendered":"New Asian Cinema"},"content":{"rendered":"\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-mkgocqws-2eb7f0420abddf56c9c3cccd9e132470\">\n.avia-image-container.av-mkgocqws-2eb7f0420abddf56c9c3cccd9e132470 img.avia_image{\nbox-shadow:none;\n}\n.avia-image-container.av-mkgocqws-2eb7f0420abddf56c9c3cccd9e132470 .av-image-caption-overlay-center{\ncolor:#ffffff;\n}\n<\/style>\n<div  class='avia-image-container av-mkgocqws-2eb7f0420abddf56c9c3cccd9e132470 av-styling- avia-align-center  avia-builder-el-0  el_before_av_heading  avia-builder-el-first '   itemprop=\"image\" itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/ImageObject\" ><div class=\"avia-image-container-inner\"><div class=\"avia-image-overlay-wrap\"><img decoding=\"async\" fetchpriority=\"high\" class='wp-image-60787 avia-img-lazy-loading-not-60787 avia_image ' src=\"https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/China-QIAN-TANG-RIVER-6-300x128.jpg\" alt='' title='China QIAN TANG RIVER (6)'  height=\"128\" width=\"300\"  itemprop=\"thumbnailUrl\" srcset=\"https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/China-QIAN-TANG-RIVER-6-300x128.jpg 300w, https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/China-QIAN-TANG-RIVER-6-1030x438.jpg 1030w, https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/China-QIAN-TANG-RIVER-6-768x327.jpg 768w, https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/China-QIAN-TANG-RIVER-6-1536x653.jpg 1536w, https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/China-QIAN-TANG-RIVER-6-2048x871.jpg 2048w, https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/China-QIAN-TANG-RIVER-6-1500x638.jpg 1500w, https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/China-QIAN-TANG-RIVER-6-705x300.jpg 705w\" sizes=\"(max-width: 300px) 100vw, 300px\" \/><\/div><\/div><\/div>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-mkgoc5uk-c309694158d6d3f2c1c5e2408646af30\">\n#top .av-special-heading.av-mkgoc5uk-c309694158d6d3f2c1c5e2408646af30{\npadding-bottom:10px;\n}\nbody .av-special-heading.av-mkgoc5uk-c309694158d6d3f2c1c5e2408646af30 .av-special-heading-tag .heading-char{\nfont-size:25px;\n}\n.av-special-heading.av-mkgoc5uk-c309694158d6d3f2c1c5e2408646af30 .av-subheading{\nfont-size:15px;\n}\n<\/style>\n<div  class='av-special-heading av-mkgoc5uk-c309694158d6d3f2c1c5e2408646af30 av-special-heading-h2 blockquote modern-quote modern-centered  avia-builder-el-1  el_after_av_image  el_before_av_textblock '><h2 class='av-special-heading-tag '  itemprop=\"headline\"  >New Asian Cinema <\/h2><div class='av-subheading av-subheading_below'><p>From January 10th to april 25th, 2026<\/p>\n<\/div><div class=\"special-heading-border\"><div class=\"special-heading-inner-border\"><\/div><\/div><\/div>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-mkgofr4r-fe0c0b58c8ba44246e75745e814116a5\">\n#top .av_textblock_section.av-mkgofr4r-fe0c0b58c8ba44246e75745e814116a5 .avia_textblock{\ntext-align:justify;\n}\n<\/style>\n<section  class='av_textblock_section av-mkgofr4r-fe0c0b58c8ba44246e75745e814116a5 '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/BlogPosting\" itemprop=\"blogPost\" ><div class='avia_textblock'  itemprop=\"text\" ><p>CASA ASIA has brought together twelve new titles for the film programme that we will screen every Saturday between January and the end of March. The stories told across the vast geographies we cover bring cultures and peoples together, each reinforcing its own identity. The itinerary begins in India and continues through Kazakhstan, Iran, Bangladesh, Sri Lanka, China, Japan, the Philippines, and Australia. It has been designed so that viewers can reconstruct the mosaic of scenes that this cinema offers us. All the films to be screened were made between 2022 and 2025, with the exception of Memory of Love (2009) by Chinese director Wang Chao. We are therefore speaking of recent cinema that connects us with a remote reality which is, at the same time, very close and highly topical. The programme opens with <strong>Body<\/strong> (India) by director Abhijit Mazumdar, followed by<strong> Green Plum Season<\/strong> (Iran) by director Ali Bayat, <strong>Longer Than a Day<\/strong> (Kazakhstan) by director Malika Mukhamejan, <strong>The Past Is Present<\/strong> (Bangladesh) by director Shaheen Dill-Riaz,<strong> Olsen\u2019s Day<\/strong> (Philippines) by director JP Habac, <strong>Qian Tang River<\/strong> (China) by director Wan Bo,<strong> Ben and Suzanne: A Reunion in 4 Parts<\/strong> (Sri Lanka) by director Shaun Seneviratne, <strong>Andamooka<\/strong> (Australia) by director Mara Jean Quinn,<strong> A Childless Village<\/strong> (Iran) by director Reza Jamali, <strong>Good Luck<\/strong> (Japan) by director Adachi Shin, and finally<strong> Co-Love<\/strong> (Philippines) by director Jill Singson Urdaneta.<\/p>\n<\/div><\/section>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-mkgpiarr-f22f19c6bb1d547023d6d09b392f85cd\">\n#top .av_textblock_section.av-mkgpiarr-f22f19c6bb1d547023d6d09b392f85cd .avia_textblock{\ntext-align:justify;\n}\n<\/style>\n<section  class='av_textblock_section av-mkgpiarr-f22f19c6bb1d547023d6d09b392f85cd '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/BlogPosting\" itemprop=\"blogPost\" ><div class='avia_textblock'  itemprop=\"text\" ><p><strong>PROGRAMME\u00a0<\/strong><\/p>\n<p><strong><span style=\"color: #ff0000;\">Saturday,\u00a0January\u00a010, 2026\u00a0<\/span><\/strong><\/p>\n<p><strong>BODY | India |\u00a0Dir:\u00a0Abhijit\u00a0Mazumdar\u00a0| 2023 | 117\u2019 | OV w\/ English\u00a0subtitles\u00a0| Drama<\/strong><\/p>\n<p><img decoding=\"async\" class=\"size-medium wp-image-60790 alignleft\" src=\"https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/India-BODY-5-300x169.png\" alt=\"\" width=\"300\" height=\"169\" srcset=\"https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/India-BODY-5-300x169.png 300w, https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/India-BODY-5-1030x579.png 1030w, https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/India-BODY-5-768x432.png 768w, https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/India-BODY-5-1536x864.png 1536w, https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/India-BODY-5-2048x1152.png 2048w, https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/India-BODY-5-1500x844.png 1500w, https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/India-BODY-5-705x397.png 705w\" sizes=\"(max-width: 300px) 100vw, 300px\" \/>Months after the third wave of the COVID-19 pandemic, Manoj, a young actor, tries to rebuild his career while coping with personal trauma. He decides to join his theatre colleagues on a trip to a village near Mumbai, but the journey does not go as planned and he ends up returning alone, walking naked along the road. His existence begins to fragment. He skips important rehearsals for his upcoming play and struggles even with the most everyday tasks. It is then that he befriends a boy who lives in the apartment across the hall and discovers that the boy\u2019s father regularly abuses him. This discovery embarks Manoj on a complex journey of uncertainty and intrigue.<\/p>\n<p><strong>Abhijit Mazumdar<\/strong> is an Indian filmmaker and screenwriter, a graduate of the Film &amp; Television Institute of India (FTII). He currently heads the Directing Department at the Whistling Woods International Institute in Mumbai. Throughout his career, he has directed short films, documentaries, commercials, and two notable feature films: <strong>Yeti<\/strong> (2014) and <strong>Body<\/strong> (2023). The latter premiered at the 29th International Film Festival of Kerala.<\/p>\n<p><strong><span style=\"color: #ff0000;\">Saturday,\u00a0January\u00a017, 2026\u00a0<\/span><\/strong><\/p>\n<p><strong>Green Plum\u00a0Season\u00a0|\u00a0Iran\u00a0|\u00a0Dir: Ali\u00a0Bayat\u00a0| 2024 | 95\u2019 | English\u00a0subtitles\u00a0| Drama\u00a0<\/strong><\/p>\n<p><img decoding=\"async\" class=\" wp-image-60793 alignright\" src=\"https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/Iran-GREEN-PLUM-SEASON-3-1-300x200.jpg\" alt=\"\" width=\"219\" height=\"146\" srcset=\"https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/Iran-GREEN-PLUM-SEASON-3-1-300x200.jpg 300w, https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/Iran-GREEN-PLUM-SEASON-3-1-1030x687.jpg 1030w, https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/Iran-GREEN-PLUM-SEASON-3-1-768x512.jpg 768w, https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/Iran-GREEN-PLUM-SEASON-3-1-1536x1024.jpg 1536w, https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/Iran-GREEN-PLUM-SEASON-3-1-2048x1365.jpg 2048w, https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/Iran-GREEN-PLUM-SEASON-3-1-1500x1000.jpg 1500w, https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/Iran-GREEN-PLUM-SEASON-3-1-705x470.jpg 705w\" sizes=\"(max-width: 219px) 100vw, 219px\" \/>A romantic film that follows the development and demise of several love stories at once. The narrative begins when Ata, a judge, submits his resignation and decides to retreat to the family villa on the outskirts of the city. In this house, his wife Giti files for divorce, and his son Farhad, a university student and social activist, returns from prison. Father and son experience a distant and cold reunion. A car accident jeopardizes the family dynamic, which is stabilized through deception and perpetuated by further incidents.<\/p>\n<p><strong>Ali\u00a0Bayat<\/strong> (Arak, Iran, 1983), after graduating in mechanical engineering, studied cinematography. He has five short films that have won awards at international festivals: <strong>Cave<\/strong>, <strong>Guitar<\/strong>, <strong>Underground<\/strong>, <strong>Fall<\/strong>, and <strong>Respect the Court<\/strong>. He has also worked as a production assistant on films such as Isolation and Forever. He completed his feature debut this year with <strong>Green Plum Season<\/strong> (2024), which was awarded at the Dhaka International Film Festival.<\/p>\n<p><strong><span style=\"color: #ff0000;\">Saturday,\u00a0January\u00a024, 2026\u00a0<\/span><\/strong><\/p>\n<p><strong>Longer\u00a0Than\u00a0a Day |\u00a0Kazakhstan\u00a0|\u00a0Dir:\u00a0Malika\u00a0Mukhamejan\u00a0| 2024 | 112\u2019 | OV w\/ English\u00a0subtitles\u00a0| Drama\u00a0<\/strong><\/p>\n<p><img decoding=\"async\" class=\" wp-image-60796 alignleft\" src=\"https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/Kazajstan-LONGER-THAN-A-DAY-2-300x169.png\" alt=\"\" width=\"208\" height=\"117\" srcset=\"https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/Kazajstan-LONGER-THAN-A-DAY-2-300x169.png 300w, https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/Kazajstan-LONGER-THAN-A-DAY-2-1030x580.png 1030w, https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/Kazajstan-LONGER-THAN-A-DAY-2-768x433.png 768w, https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/Kazajstan-LONGER-THAN-A-DAY-2-1536x866.png 1536w, https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/Kazajstan-LONGER-THAN-A-DAY-2-2048x1154.png 2048w, https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/Kazajstan-LONGER-THAN-A-DAY-2-1500x845.png 1500w, https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/Kazajstan-LONGER-THAN-A-DAY-2-705x397.png 705w\" sizes=\"(max-width: 208px) 100vw, 208px\" \/>The lives of Karlygash (which means \u201cswallow\u201d in Kazakh) and Ilyas, a young married couple living on a horse ranch in a remote settlement on the Kazakh steppe, change dramatically with the arrival of a French traveler named Louis. Karlygash moves from emotional dependence on Ilyas to escape and finally ventures into an uncertain future. The film explores how women face loneliness through a story of love and passion that ultimately brings the marriage to an end.<\/p>\n<p><strong>Malika Mukhamejan<\/strong> (Shu, 1993) is a Kazakh filmmaker who graduated in directing from the Gerasimov Institute of Cinematography (VGIK) in 2021. Her work focuses on women\u2019s stories and their loneliness and isolation. She is the founder of QYZQARAS, a platform that supports female filmmakers in Kazakhstan. Her debut feature film, <strong>Longer Than a Day<\/strong> (2024), was selected for the Asian New Talent section at the 26th Shanghai International Film Festival (SIFF).<\/p>\n<p><strong><span style=\"color: #ff0000;\">Saturday, January 31, 2026\u00a0<\/span><\/strong><\/p>\n<p><strong>The Past Is Present | Bangladesh | Dir: S. Dill-Riaz | 2025 | 100\u2019 |\u00a0 English subtitles |Documentary\u00a0<\/strong><\/p>\n<div id=\"attachment_60799\" style=\"width: 261px\" class=\"wp-caption alignright\"><img decoding=\"async\" aria-describedby=\"caption-attachment-60799\" class=\" wp-image-60799\" src=\"https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/Bangladesh-THE-PAST-IS-PRESENT-1-300x169.jpg\" alt=\"\" width=\"251\" height=\"141\" srcset=\"https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/Bangladesh-THE-PAST-IS-PRESENT-1-300x169.jpg 300w, https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/Bangladesh-THE-PAST-IS-PRESENT-1-1030x582.jpg 1030w, https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/Bangladesh-THE-PAST-IS-PRESENT-1-768x434.jpg 768w, https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/Bangladesh-THE-PAST-IS-PRESENT-1-1536x868.jpg 1536w, https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/Bangladesh-THE-PAST-IS-PRESENT-1-2048x1157.jpg 2048w, https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/Bangladesh-THE-PAST-IS-PRESENT-1-1500x847.jpg 1500w, https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/Bangladesh-THE-PAST-IS-PRESENT-1-705x398.jpg 705w\" sizes=\"(max-width: 251px) 100vw, 251px\" \/><p id=\"caption-attachment-60799\" class=\"wp-caption-text\">Screenshot<\/p><\/div>\n<p>In 2007, Bangladeshi documentarian Shaheen Dill-iaz discovered a family scandal: his sister had secretly married their cousin. This event tore the family apart, prompting him to mediate between his sister in Australia, his brother in the United States, and his parents in Dhaka. Dill-Riaz turns the camera on himself and his loved ones, constructing a domestic saga filmed over fourteen years. The film offers a contrast of lifestyles across cultures, with an inclusive narrative that reveals the isolation of its protagonists in relation to the world around them.<\/p>\n<p><strong>Shaheen Dill-Riaz<\/strong> is a Bangladeshi filmmaker, director, producer, and screenwriter based in Berlin. After completing secondary school, he began collaborating on the production of several short films. In 1992, he started studying Art History at the Freie Universit\u00e4t Berlin and later cinematography at the Filmuniversit\u00e4t Babelsberg Konrad Wolf. Since 1999, he has worked as a director, screenwriter, producer, and cinematographer in Europe and Asia. His most recent work, <strong>The Past Is Present<\/strong> (2025), was selected for the International Film Festival Rotterdam (IFFR) 2025.<\/p>\n<p><strong><span style=\"color: #ff0000;\">Saturday,\u00a0February\u00a014, 2026\u00a0\u00a0<\/span><\/strong><\/p>\n<p><strong>Memory\u00a0of\u00a0Love | China |\u00a0Dir: Wang Chao | 2009 | 87\u2019\u00a0|\u00a0 English\u00a0subtitles\u00a0| Drama\u00a0<\/strong><\/p>\n<p><img decoding=\"async\" class=\" wp-image-60802 alignleft\" src=\"https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/China-Wang-Chao-MEMORY-OF-LOVE-1-300x169.jpg\" alt=\"\" width=\"275\" height=\"155\" srcset=\"https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/China-Wang-Chao-MEMORY-OF-LOVE-1-300x169.jpg 300w, https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/China-Wang-Chao-MEMORY-OF-LOVE-1-768x432.jpg 768w, https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/China-Wang-Chao-MEMORY-OF-LOVE-1-705x397.jpg 705w, https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/China-Wang-Chao-MEMORY-OF-LOVE-1.jpg 800w\" sizes=\"(max-width: 275px) 100vw, 275px\" \/>In Memory of Love, a woman, He Sizhu, and her lover, Chen Mo, suffer a car accident in which she loses her memory. She is admitted to the hospital where her husband works as a surgeon, and when she wakes up, she remembers nothing of her recent past. Her lover has become a stranger, but he refuses to lose her, even though the therapy she undergoes does not guarantee the recovery of her memory.<\/p>\n<p>After graduating from university, <strong>Wang Chao<\/strong> worked for five years in the steel industry, although he was always interested in cinema and literature. In 1991, he entered the Beijing Film Academy, graduating in 1994 and beginning work as a film critic. There he met Chen Kaige after the shooting of Yellow Earth, who hired him as an assistant director between 1995 and 1998 on<strong> Farewell My Concubine<\/strong> and <strong>The Emperor and the Assassin<\/strong>. During this period, he wrote several short stories that inspired screenplays for some of his films. With <strong>Orphan of Anyang<\/strong>, which he shot without authorization, he made his directorial debut. The film was selected in 2001 for the Directors\u2019 Fortnight at the Cannes Film Festival. In 2004, he directed his second feature <strong>Day and Night<\/strong>, and in 2006 completed his China trilogy with <strong>Luxury Car<\/strong>. His fourth and fifth films, <strong>Memory of Love<\/strong> (2009) and <strong>Fantasy<\/strong> (2014), the latter presented in Un Certain Regard at Cannes, show a narrative maturity despite their restraint. <strong>Looking for Rohmer<\/strong> (2018) reveals Wang Chao\u2019s interest in critic and filmmaker Eric Rohmer and the Nouvelle Vague.<strong> A Woman<\/strong> (2022), his most recent film to date, was screened at the Asian Film Festival Barcelona | AFFBCN with great audience success, after its screening in San Sebasti\u00e1n where it was nominated for the Golden Shell.<\/p>\n<p><strong><span style=\"color: #ff0000;\">Saturday,\u00a0February\u00a021, 2026\u00a0<\/span><\/strong><\/p>\n<p><strong>Qian\u00a0Tang\u00a0River\u00a0| China |\u00a0Dir:\u00a0Wan\u00a0Bo | 2024 | 92\u2019 | English\u00a0subtitles\u00a0| Drama,\u00a0Historical\u00a0<\/strong><\/p>\n<p><img decoding=\"async\" class=\" wp-image-60787 alignright\" src=\"https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/China-QIAN-TANG-RIVER-6-300x128.jpg\" alt=\"\" width=\"279\" height=\"119\" srcset=\"https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/China-QIAN-TANG-RIVER-6-300x128.jpg 300w, https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/China-QIAN-TANG-RIVER-6-1030x438.jpg 1030w, https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/China-QIAN-TANG-RIVER-6-768x327.jpg 768w, https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/China-QIAN-TANG-RIVER-6-1536x653.jpg 1536w, https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/China-QIAN-TANG-RIVER-6-2048x871.jpg 2048w, https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/China-QIAN-TANG-RIVER-6-1500x638.jpg 1500w, https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/China-QIAN-TANG-RIVER-6-705x300.jpg 705w\" sizes=\"(max-width: 279px) 100vw, 279px\" \/>One river, three generations, countless failures, and a village deeply affected by recurring floods caused by the tides. In the late 1950s, a young man is swept away by the river and arrives at this village. The inhabitants decide to embark on an ambitious project: the construction of a dike. This monumental effort becomes a central focus, illustrating the population\u2019s struggle for survival, their unwavering beliefs, and their shared determination to tame the river and reclaim their land.<\/p>\n<p><strong>Wan Bo<\/strong> is a director and cinematographer who graduated from the China Academy of Art with a bachelor\u2019s degree in photography and a master\u2019s degree in theatre and film directing. He also holds a PhD in Film Production from the Beijing Film Academy. His most notable work to date is <strong>The Qiang River<\/strong> (2024), which was nominated for Best Film at the 2024 Shanghai International Film Festival and won the Golden Cocoon Award for Best Director at the 2024 Silk Road International Film Festival. He currently combines his work as a filmmaker with his position as an associate professor at the Zhejiang University of Media and Communications.<\/p>\n<p><strong><span style=\"color: #ff0000;\">Saturday,\u00a0March\u00a07, 2026\u00a0<\/span><\/strong><\/p>\n<p><strong>Olsen\u2019s Day | Philippines | Dir: JP\u00a0Habac\u00a0| 2025 | 89\u2019 | English subtitles | Drama, Coming\u00a0of Age<\/strong><\/p>\n<p><strong><img decoding=\"async\" class=\" wp-image-60805 alignleft\" src=\"https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/Filipinas-OLSENS-DAY-1-300x169.jpg\" alt=\"\" width=\"261\" height=\"147\" srcset=\"https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/Filipinas-OLSENS-DAY-1-300x169.jpg 300w, https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/Filipinas-OLSENS-DAY-1-1030x579.jpg 1030w, https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/Filipinas-OLSENS-DAY-1-768x432.jpg 768w, https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/Filipinas-OLSENS-DAY-1-1536x864.jpg 1536w, https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/Filipinas-OLSENS-DAY-1-1500x844.jpg 1500w, https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/Filipinas-OLSENS-DAY-1-705x397.jpg 705w, https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/Filipinas-OLSENS-DAY-1.jpg 1920w\" sizes=\"(max-width: 261px) 100vw, 261px\" \/><\/strong> Olsen, a thirty-year-old investigator, is tasked with transporting a package from his provincial hometown to Manila. Along the way, he picks up a father and son as passengers. What begins as a routine trip becomes a journey of personal discovery, in which, through shared conversations and silences, Olsen reflects on his life and the grief over his late father, opening up new possibilities for connection and healing.<\/p>\n<p><strong>JP Habac<\/strong> (Manila, 1987) is a Filipino filmmaker who graduated in Film from the University of the Philippines Film Institute. Throughout his career, Habac has established himself as a prominent director, screenwriter, and producer in Philippine cinema, particularly known for his moving stories centered on LGBTQIA+ themes and romantic dramas. His most notable works include <strong>I\u2019m Drunk, I Love You<\/strong> (2017), the series <strong>Gaya sa Pelikula<\/strong> (2020), and <strong>Drag You &amp; Me<\/strong> (2023). His most recent film is <strong>Olsen\u2019s Day<\/strong> (2025).<\/p>\n<p><strong><span style=\"color: #ff0000;\">Saturday,\u00a0March\u00a028, 2026\u00a0<\/span><\/strong><\/p>\n<p><strong>Ben and Suzanne, A\u00a0Reunion\u00a0in 4\u00a0Parts\u00a0| Sri Lanka |\u00a0Dir: S. Seneviratne | 2024 | 110\u2019 | English\u00a0subtitles\u00a0| Drama\u00a0<\/strong> <img decoding=\"async\" class=\" wp-image-60808 alignright\" src=\"https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/Sri-Lanka-BEN-AND-SUZANNE-5-300x225.png\" alt=\"\" width=\"183\" height=\"137\" srcset=\"https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/Sri-Lanka-BEN-AND-SUZANNE-5-300x225.png 300w, https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/Sri-Lanka-BEN-AND-SUZANNE-5-1030x773.png 1030w, https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/Sri-Lanka-BEN-AND-SUZANNE-5-768x576.png 768w, https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/Sri-Lanka-BEN-AND-SUZANNE-5-1536x1152.png 1536w, https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/Sri-Lanka-BEN-AND-SUZANNE-5-1500x1125.png 1500w, https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/Sri-Lanka-BEN-AND-SUZANNE-5-705x529.png 705w, https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/Sri-Lanka-BEN-AND-SUZANNE-5.png 2000w\" sizes=\"(max-width: 183px) 100vw, 183px\" \/>After a long separation, Ben Santhanaraj travels to Sri Lanka to rekindle his relationship with Suzanne Hopper, an American woman working for an NGO. However, when Suzanne\u2019s boss requires her to work during the holidays, their love is tested by a dilemma between desire and duty. While Suzanne fulfills her professional responsibilities, Ben tries by all means to revive their relationship. This leads to candid conversations and chaotic turns as New Year\u2019s Eve and Ben\u2019s departure approach.<\/p>\n<p><strong>Shaun Seneviratne<\/strong> is a Sri Lankan-American filmmaker based in Brooklyn. He holds a bachelor\u2019s degree from Rutgers University and a master\u2019s degree from The New School (New York). He is currently a teacher at Fieldston, co-hosts the podcast Rohmercast, and runs Redacted Screenings. His latest feature film, <strong>Ben and Suzanne, A Reunion in 4 Parts<\/strong> (2024), was selected for the 2025 Jodja-NETPAC Asian Film Festival.<br \/>\n<strong><span style=\"color: #ff0000;\">\u00a0<\/span><\/strong><br \/>\n<strong><span style=\"color: #ff0000;\">Saturday,\u00a0April 4, 2026\u00a0<\/span><\/strong><br \/>\n<strong>Andamooka\u00a0| Australia |\u00a0Dir: Mara Jean Quinn | 2024 | 85\u2019 | OV w\/ English\u00a0subtitles\u00a0| Drama\u00a0<\/strong><\/p>\n<p><img decoding=\"async\" class=\" wp-image-60811 alignleft\" src=\"https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/Australia-ANDAMOOKA-3-300x150.png\" alt=\"\" width=\"266\" height=\"133\" srcset=\"https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/Australia-ANDAMOOKA-3-300x150.png 300w, https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/Australia-ANDAMOOKA-3-1030x513.png 1030w, https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/Australia-ANDAMOOKA-3-768x383.png 768w, https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/Australia-ANDAMOOKA-3-1536x766.png 1536w, https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/Australia-ANDAMOOKA-3-2048x1021.png 2048w, https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/Australia-ANDAMOOKA-3-1500x748.png 1500w, https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/Australia-ANDAMOOKA-3-705x351.png 705w\" sizes=\"(max-width: 266px) 100vw, 266px\" \/>Shortly before her 30th birthday, Alex faces a series of personal adversities: heartbreak, work burnout, and a deep identity crisis. In an attempt to escape her overwhelming city life, she decides to travel with her best friend to the town of Andamooka in South Australia. Amid the vast Australian rural landscape, she embarks on a journey of inner exploration. Through encounters with strangers and contact with Indigenous cultures, she gradually regains her sense of understanding and inner strength.<\/p>\n<p><strong>Mara Jean Quinn<\/strong> is an Australian actress, filmmaker, and artist. She has worked in theatre since 1999 and in film since 2006. Mara has been involved in writing, production, directing, and costume assistance. Her training has focused mainly on Brisbane and Sydney. Her filmography includes <strong>Desert Metal Dreaming<\/strong> (2021), which she co-directed, wrote, and produced, and <strong>The Tingle Test<\/strong> (2019), which she co-wrote, produced, and starred in. Her solo directorial debut came with <strong>Andamooka<\/strong> (2024), which screened at the Queensland Premiere of the 2024 Brisbane International Film Festival and in the Official Selection of CinefestOZ 2024.<\/p>\n<p><strong><span style=\"color: #ff0000;\">Saturday,\u00a0April 11, 2026\u00a0<\/span><\/strong><\/p>\n<p><strong>A\u00a0Childless\u00a0Village\u00a0|\u00a0Iran\u00a0|\u00a0Dir: Reza\u00a0Jamali\u00a0| 2022 | 81\u2019 | OV w\/ English\u00a0subtitles\u00a0| Drama\u00a0<\/strong><\/p>\n<p><img decoding=\"async\" class=\" wp-image-60627 alignright\" src=\"https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/IRAN-A-Childless-Village_1-300x200.jpg\" alt=\"\" width=\"224\" height=\"149\" srcset=\"https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/IRAN-A-Childless-Village_1-300x200.jpg 300w, https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/IRAN-A-Childless-Village_1-1030x687.jpg 1030w, https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/IRAN-A-Childless-Village_1-768x512.jpg 768w, https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/IRAN-A-Childless-Village_1-705x470.jpg 705w, https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/IRAN-A-Childless-Village_1.jpg 1080w\" sizes=\"(max-width: 224px) 100vw, 224px\" \/>As the title suggests, the film takes us to a small rural village facing a demographic challenge. In the past, in the absence of a logical explanation for the lack of births in the village, women were blamed. Drawn by the mystery, filmmaker Kazem went to the village and shot a documentary following this narrative, which was never released. Two decades later, the true cause of the demographic problem is discovered. In old age and accompanied by his assistant, the director returns to the village with a firm purpose: to uncover the truth and, this time, restore the dignity of the women in the construction of the story.<\/p>\n<p><strong>Reza Jamali<\/strong> (Arbedil, Iran, 1978) is a filmmaker who, after an extensive production of short films presented and awarded at national and international festivals, made his feature debut with <strong>Old Men Never Die<\/strong> in 2019. His first feature won the \u201cSpirits of Asia Award\u201d at the Tokyo International Film Festival and subsequently traveled to other international festivals.<strong> A Childless Village<\/strong> (2022) is the second film written and directed by the Iranian filmmaker.<\/p>\n<p><strong><span style=\"color: #ff0000;\">Saturday,\u00a0April 18, 2026\u00a0<\/span><\/strong><\/p>\n<p><strong>Good\u00a0Luck\u00a0|\u00a0Japan\u00a0|\u00a0Dir: Adachi\u00a0Shin\u00a0| 2025 | 104\u2019 | OV w\/ English\u00a0subtitles\u00a0| Drama,\u00a0Crime\u00a0<\/strong><\/p>\n<p><img decoding=\"async\" class=\" wp-image-60814 alignleft\" src=\"https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/Japon-GOOD-LUCK-3-300x200.jpg\" alt=\"\" width=\"248\" height=\"165\" srcset=\"https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/Japon-GOOD-LUCK-3-300x200.jpg 300w, https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/Japon-GOOD-LUCK-3-1030x686.jpg 1030w, https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/Japon-GOOD-LUCK-3-768x512.jpg 768w, https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/Japon-GOOD-LUCK-3-1536x1024.jpg 1536w, https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/Japon-GOOD-LUCK-3-2048x1365.jpg 2048w, https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/Japon-GOOD-LUCK-3-1500x1000.jpg 1500w, https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/Japon-GOOD-LUCK-3-705x470.jpg 705w\" sizes=\"(max-width: 248px) 100vw, 248px\" \/>Taro is an independent filmmaker who is invited to the screening of his new personal documentary at a film festival in Oita Prefecture. Although he arrives full of enthusiasm, he quickly collapses when the festival organizer harshly criticizes his film. Taro skips the opening party and leaves the next day for a neighboring town. There, he meets a woman named Miki, with whom he decides to take a short trip. During their brief encounter, they open up to each other, strengthening the bond between them. But when Taro returns to Tokyo, his girlfriend is waiting for him.<\/p>\n<p><strong>Adachi\u00a0Shin\u00a0<\/strong>(1972) is a Japanese screenwriter and director. After graduating from the Japan Institute of the Moving Image, he studied under director Somai Shinji. He began writing screenplays after working as an assistant director. In 2015, he won the 39th Japan Academy Film Prize for Best Screenplay for <strong>100 Yen Love<\/strong> (2014). His most recent film, <strong>Good Luck<\/strong> (2024), has been screened at the Tokyo International Film Festival, the Udine Far East Film Festival, and the Fribourg International Film Festival.<br \/>\n<strong><span style=\"color: #ff0000;\">\u00a0<\/span><\/strong><br \/>\n<strong><span style=\"color: #ff0000;\">Saturday, April\u00a025, 2026\u00a0<\/span><\/strong><\/p>\n<p><strong>Co-Love |\u00a0Philippines\u00a0|\u00a0Dir: Jill\u00a0Singson\u00a0Urdaneta | 2025 | 115\u2019 | OV w\/ English\u00a0subtitles\u00a0| Drama, Romance\u00a0<\/strong><\/p>\n<p><img decoding=\"async\" class=\" wp-image-60817 alignright\" src=\"https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/Filipinas-COLOVE-4-300x126.jpg\" alt=\"\" width=\"271\" height=\"114\" srcset=\"https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/Filipinas-COLOVE-4-300x126.jpg 300w, https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/Filipinas-COLOVE-4-1030x432.jpg 1030w, https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/Filipinas-COLOVE-4-768x322.jpg 768w, https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/Filipinas-COLOVE-4-1536x644.jpg 1536w, https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/Filipinas-COLOVE-4-2048x858.jpg 2048w, https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/Filipinas-COLOVE-4-1500x628.jpg 1500w, https:\/\/asianfilmfestival.barcelona\/2025\/wp-content\/uploads\/2026\/01\/Filipinas-COLOVE-4-705x295.jpg 705w\" sizes=\"(max-width: 271px) 100vw, 271px\" \/>Two popular social media content creators realize that they are experiencing personal problems with their respective partners. This brings them together through an unexpected professional collaboration that emerges between them. Both the protagonists and their immediate surroundings reflect the energy of a young, constantly changing world in a country like the Philippines.<\/p>\n<p><strong>Jill Singson Urdaneta<\/strong> is a Filipino director, actor, and editor. He has directed several films, including <strong>Partee<\/strong> (2016), <strong>Beki Problems<\/strong> (2021), and <strong>Co\/Love<\/strong> (2025), which was presented at the 2025 CinePanalo Film Festival.<\/p>\n<\/div><\/section>\n<div  class='avia-icon-list-container av-mkgpkgdu-b545fd31233dca03c6af4fa07ebb3a03  avia-builder-el-4  el_after_av_textblock  el_before_av_partner '><ul class='avia-icon-list avia_animate_when_almost_visible avia-icon-list-left av-iconlist-big av-mkgpkgdu-b545fd31233dca03c6af4fa07ebb3a03 avia-iconlist-animate'>\n<li><div class='iconlist_icon av-mkgpj94l-acb4cfbb939063d13539b5b7d97ab6d2 avia-font-svg_entypo-fontello avia-svg-icon avia-font-svg_entypo-fontello'><span class='av-icon-char' data-av_svg_icon='tools' data-av_iconset='svg_entypo-fontello'><svg version=\"1.1\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"32\" height=\"32\" viewBox=\"0 0 32 32\" preserveAspectRatio=\"xMidYMid meet\" aria-labelledby='av-svg-title-1' aria-describedby='av-svg-desc-1' role=\"graphics-symbol\" aria-hidden=\"true\">\n<title id='av-svg-title-1'>Tools<\/title>\n<desc id='av-svg-desc-1'>Tools<\/desc>\n<path d=\"M4.96 11.008q-0.256 0.256-0.352 0.704t-0.096 0.8-0.064 0.352q-0.064 0.064-0.544 0.48t-0.608 0.544q-0.512 0.448-0.896-0.128l-2.24-2.432q-0.352-0.384 0.064-0.768 0.064-0.064 0.576-0.448t0.64-0.512q0.192-0.192 0.864-0.192t1.184-0.448q0.448-0.448 0.576-1.216t0.32-0.96q0.064 0 0.288-0.224t0.832-0.704 1.312-0.992q4.288-2.88 5.952-3.072 3.904 0 4.736 0.064 0.384 0-0.256 0.256-3.84 1.664-4.864 2.432-2.56 1.792-1.152 3.648 1.088 1.472 1.216 1.536 0.256 0.256-0.064 0.448-0.064 0.064-1.216 1.12t-1.216 1.12q-0.448 0.256-0.576 0.128-1.344-1.536-2.272-1.92t-2.144 0.384zM14.112 11.84l13.12 15.232q0.576 0.704-0.064 1.216l-1.536 1.344q-0.704 0.448-1.216-0.128l-13.248-15.104q-0.256-0.256 0-0.64l2.304-1.984q0.384-0.256 0.64 0.064zM31.84 5.376q0.512 3.328-0.512 5.312-1.6 2.816-4.928 1.984-1.792-0.384-3.2 1.024l-2.624 2.496-2.176-2.496 2.176-2.24q0.768-0.768 0.992-1.696t0.192-2.080 0.16-1.856q0.384-1.792 4.48-3.584 0.384-0.192 0.576 0.096t0.064 0.48q-0.384 0.384-1.472 2.56-0.448 0.32-0.384 1.12t1.28 1.696q1.856 1.28 3.072-0.704 0.192-0.384 0.832-1.312t0.704-1.056q0.128-0.32 0.416-0.288t0.352 0.544zM4.384 27.264l8.128-7.936 2.432 2.752-7.872 7.744q-0.64 0.64-1.216 0.128l-1.472-1.472q-0.704-0.576 0-1.216z\"><\/path>\n<\/svg><\/span><\/div><article class=\"article-icon-entry av-iconlist-empty\"  itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/BlogPosting\" itemprop=\"blogPost\" ><div class=\"iconlist_content_wrap\"><header class=\"entry-content-header\" aria-label=\"Icon: Cinema Cycle: From Jenuary 10th to april 25th, 2026,at 20h.\u202f \"><h4 class='av_iconlist_title iconlist_title  '  itemprop=\"headline\" >Cinema Cycle: From Jenuary 10th to april 25th, 2026,at 20h.\u202f <\/h4><\/header><div class='iconlist_content '  itemprop=\"text\" ><\/div><\/div><footer class=\"entry-footer\"><\/footer><\/article><div class=\"iconlist-timeline\"><\/div><\/li>\n<li><div class='iconlist_icon av-mkgpjm0x-c180c98d2299022b733ad32a7635d94b avia-font-svg_entypo-fontello avia-svg-icon avia-font-svg_entypo-fontello'><span class='av-icon-char' data-av_svg_icon='brush' data-av_iconset='svg_entypo-fontello'><svg version=\"1.1\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"31\" height=\"32\" viewBox=\"0 0 31 32\" preserveAspectRatio=\"xMidYMid meet\" aria-labelledby='av-svg-title-2' aria-describedby='av-svg-desc-2' role=\"graphics-symbol\" aria-hidden=\"true\">\n<title id='av-svg-title-2'>Brush<\/title>\n<desc id='av-svg-desc-2'>Brush<\/desc>\n<path d=\"M3.776 21.76q1.216-1.088 2.72-0.928t2.784 1.44q1.344 1.28 1.536 2.784t-0.96 2.656q-2.752 2.688-7.296 3.264-2.688 0.384-2.56-0.448 0-0.128 0.192-0.32 1.664-1.92 2.048-4.64t1.536-3.808zM30.656 1.088q0.832 0.832-4.736 7.936t-9.344 10.816q-1.216 1.216-3.968 3.328-0.256 0.192-0.512-0.256-0.576-1.088-1.536-2.048-1.024-1.024-2.112-1.536-0.512-0.192-0.256-0.512 2.048-2.688 3.328-3.904 3.776-3.712 11.008-9.184t8.128-4.64z\"><\/path>\n<\/svg><\/span><\/div><article class=\"article-icon-entry av-iconlist-empty\"  itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/BlogPosting\" itemprop=\"blogPost\" ><div class=\"iconlist_content_wrap\"><header class=\"entry-content-header\" aria-label=\"Icon: This programming might be subject to small changes, check the cinema web page\"><h4 class='av_iconlist_title iconlist_title  '  itemprop=\"headline\" >This programming might be subject to small changes, check the cinema web page<\/h4><\/header><div class='iconlist_content '  itemprop=\"text\" ><\/div><\/div><footer class=\"entry-footer\"><\/footer><\/article><div class=\"iconlist-timeline\"><\/div><\/li>\n<li><div class='iconlist_icon av-mkgpjtp5-6e9249932921936e8f7fd41dfeef8c39 avia-font-svg_entypo-fontello avia-svg-icon avia-font-svg_entypo-fontello'><span class='av-icon-char' data-av_svg_icon='star-empty' data-av_iconset='svg_entypo-fontello'><svg version=\"1.1\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"28\" height=\"32\" viewBox=\"0 0 28 32\" preserveAspectRatio=\"xMidYMid meet\" aria-labelledby='av-svg-title-3' aria-describedby='av-svg-desc-3' role=\"graphics-symbol\" aria-hidden=\"true\">\n<title id='av-svg-title-3'>Star-empty<\/title>\n<desc id='av-svg-desc-3'>Star-empty<\/desc>\n<path d=\"M28.16 12.672l-8.384 6.272 3.008 11.136-8.704-6.656-8.704 6.656 3.008-11.136-8.384-6.272h10.24l3.84-10.752 3.84 10.752h10.24zM14.080 20.288l4.8 3.968-1.984-5.696 4.608-3.648-5.632 0.128-1.792-6.464-1.728 6.464-5.632-0.128 4.544 3.648-1.984 5.696z\"><\/path>\n<\/svg><\/span><\/div><article class=\"article-icon-entry av-iconlist-empty\"  itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/BlogPosting\" itemprop=\"blogPost\" ><div class=\"iconlist_content_wrap\"><header class=\"entry-content-header\" aria-label=\"Icon: Cinemes Girona: C\/ Girona, 175, 08025 Barcelona.\u202f \"><h4 class='av_iconlist_title iconlist_title  '  itemprop=\"headline\" >Cinemes Girona: C\/ Girona, 175, 08025 Barcelona.\u202f <\/h4><\/header><div class='iconlist_content '  itemprop=\"text\" ><\/div><\/div><footer class=\"entry-footer\"><\/footer><\/article><div class=\"iconlist-timeline\"><\/div><\/li>\n<li><div class='iconlist_icon av-mkgpk4oh-ca05457bc95368575892ba733939f97b avia-font-svg_entypo-fontello avia-svg-icon avia-font-svg_entypo-fontello'><span class='av-icon-char' data-av_svg_icon='adjust' data-av_iconset='svg_entypo-fontello'><svg version=\"1.1\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"32\" height=\"32\" viewBox=\"0 0 32 32\" preserveAspectRatio=\"xMidYMid meet\" aria-labelledby='av-svg-title-4' aria-describedby='av-svg-desc-4' role=\"graphics-symbol\" aria-hidden=\"true\">\n<title id='av-svg-title-4'>Adjust<\/title>\n<desc id='av-svg-desc-4'>Adjust<\/desc>\n<path d=\"M30.4 14.72q0.64 0 1.12 0.384t0.48 0.896q0 1.28-1.6 1.28h-1.536q-1.6 0-1.6-1.28 0-0.512 0.48-0.896t1.12-0.384h1.536zM16 7.232q3.648 0 6.24 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0.256t-1.056-0.512q-0.96-0.96-1.152-1.088-0.448-0.448-0.512-1.056t0.32-0.992q0.32-0.384 0.928-0.32t1.056 0.512zM24.896 26.688q-1.152-1.152-0.256-2.048t2.048 0.256l1.088 1.088q1.152 1.152 0.256 2.048t-2.048-0.192q-0.96-0.96-1.088-1.152z\"><\/path>\n<\/svg><\/span><\/div><article class=\"article-icon-entry av-iconlist-empty\"  itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/BlogPosting\" itemprop=\"blogPost\" ><div class=\"iconlist_content_wrap\"><header class=\"entry-content-header\" aria-label=\"Icon: Ticket price: 5,50\u20ac\u202f\u202f\u202f\u202f \"><h4 class='av_iconlist_title iconlist_title  '  itemprop=\"headline\" >Ticket price: 5,50\u20ac\u202f\u202f\u202f\u202f <\/h4><\/header><div class='iconlist_content '  itemprop=\"text\" ><\/div><\/div><footer class=\"entry-footer\"><\/footer><\/article><div class=\"iconlist-timeline\"><\/div><\/li>\n<\/ul><\/div>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-mkgplx52-53033cff80d4b80292a93ec33b49b61d\">\n.avia-logo-element-container.av-mkgplx52-53033cff80d4b80292a93ec33b49b61d .av-partner-fake-img{\nbackground-size:cover;\n}\n<\/style>\n<div  class='avia-logo-element-container av-mkgplx52-53033cff80d4b80292a93ec33b49b61d avia-logo-slider avia-content-slider avia-smallarrow-slider avia-content-slider-active noHover avia-content-slider-odd  avia-builder-el-5  el_after_av_iconlist  avia-builder-el-last  av-slideshow-ui av-control-default av-nav-arrows-visible av-nav-dots-visible av-no-slider-navigation av-slideshow-manual av-loop-once av-loop-manual-endless avia-content-slider1' 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'><\/div><\/div><\/div><\/div>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":9,"featured_media":60787,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[1],"tags":[],"class_list":["post-60828","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news"],"acf":[],"_links":{"self":[{"href":"https:\/\/asianfilmfestival.barcelona\/2025\/wp-json\/wp\/v2\/posts\/60828","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/asianfilmfestival.barcelona\/2025\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/asianfilmfestival.barcelona\/2025\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/asianfilmfestival.barcelona\/2025\/wp-json\/wp\/v2\/users\/9"}],"replies":[{"embeddable":true,"href":"https:\/\/asianfilmfestival.barcelona\/2025\/wp-json\/wp\/v2\/comments?post=60828"}],"version-history":[{"count":4,"href":"https:\/\/asianfilmfestival.barcelona\/2025\/wp-json\/wp\/v2\/posts\/60828\/revisions"}],"predecessor-version":[{"id":60835,"href":"https:\/\/asianfilmfestival.barcelona\/2025\/wp-json\/wp\/v2\/posts\/60828\/revisions\/60835"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/asianfilmfestival.barcelona\/2025\/wp-json\/wp\/v2\/media\/60787"}],"wp:attachment":[{"href":"https:\/\/asianfilmfestival.barcelona\/2025\/wp-json\/wp\/v2\/media?parent=60828"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/asianfilmfestival.barcelona\/2025\/wp-json\/wp\/v2\/categories?post=60828"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/asianfilmfestival.barcelona\/2025\/wp-json\/wp\/v2\/tags?post=60828"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}