Reduced-price tickets for students, seniors, and arts workers are not available for this event. Discounts & promo codes are not valid for this event. Badge redemptions are not available.
USA202596 minEnglish, Korean
K-pop? Yes, please. Demons? Sure! Hunters? OK, what?
Here’s the story: Rumi, Zoey, and Mira are HUNTR/X, a world-renowned K-pop group who ALSO hunt demons to protect humans from the underworld. But one of them has a secret that could disrupt all they’ve worked for.
The disparate elements of the global sensation K-Pop Demon Hunters don’t seem like they’d work, but they're what make it perfect. The devil (or demon) is in the details, featuring a specificity that distinguishes it from the crowd through a celebration of Korean culture with its relatable characters, animation motifs, and absolute bangin' soundtrack.
It’s all the brainchild of creator and co-director Maggie Kang, who grew up in Toronto and attended Sheridan College. And we’re proud to have her join us in a hometown singalong celebration of K-Pop Demon Hunters. So grab your little "Soda Pop" and show them "How It's Done", cuz we’re gonna be "Golden".
– Aram Siu Wai Collier
Arden Cho
May Hong
Ji-young Yoo
Ahn Hyo-seop
Lee Byung-hun
Maggie Kang, Chris Appelhans
Maggie Kang was born in Seoul and grew up in Toronto, where she attended Sheridan College and studied classical animation. Currently, Kang is a director at Sony Pictures Animation.
Chris Appelhans is a director at Sony Pictures Animation, having studied illustration at the ArtCenter College of Design in Pasadena, Calif. He resides in Los Angeles with his wife Maurene and their cat.
10 Nov, 2025 7:30 pm
Hot Docs Ted Rogers CinemaPG
Reduced-price tickets for students, seniors, and arts workers are not available for this event. Discounts & promo codes are not valid for this event. Badge redemptions are not available.
IN PERSON ACCESSIBILITY:
Wheelchair spaces and step-free seating is available for this screening – click below to book accessible seats.
Join us for a Q&A with production designer Helen Chen immediately after the screening.
Helen Chen
Production Designer
Mingjue Helen Chen is a visual development artist and production designer currently based in Los Angeles. She graduated Academy of Art University in 2010 and has been working in the animation industry since, with clients like Walt Disney Animation Studios, Warner Brothers studios, Paramount Animation, Netflix Animation, and Sony Pictures Animation. Notable projects include Frankenweenie, Wreck-It Ralph, Big Hero 6, Wish Dragon, Raya and the Last Dragon, and most recently served as Production Designer for Netflix and Sony Pictures Animation’s KPop Demon Hunters.
Michelle Wong
Producer
Michelle Wong is a producer at Sony Pictures Animation, who most recently produced the global hit KPop Demon Hunters, now streaming on Netflix.
Wong produced Sony Pictures Animation’s 2021 original animated musical Vivo, which featured original songs from Lin-Manuel Miranda, the creative force behind the Broadway smash Hamilton.
Wong was one of the first Sony Pictures Animation employees, joining the studio in 2002. She went on to serve as the visual development coordinator on Cloudy with a Chance of Meatballs, an editorial APM on the comedy hit Hotel Transylvania, and production manager on Hotel Transylvania 2. Prior to producing Vivo, she produced the studio’s 2017 feature, Surf’s Up 2: WaveMania.
Wong graduated with a degree in graphic design.
The 29th edition of Reel Asian is about to unfold! Celebrate with us at Tha Phae Tavern!
This workshop spotlights the Sari-Sari Xchange Assetory, a storytelling-led virtual asset library prototype created with and for the Asian diaspora. Participants will be asked to bring an object with a personal meaning, which they will learn how to scan and create a 3D reproduction of. They will also be able to share what memories, stories, and histories the object holds and contribute to the SSX Assetory if they wish.
Kana, a struggling visual artist, returns to Japan after years away in Vancouver to attend her beloved grandmother’s funeral. The familiar cadence of family dynamics endure and yet, everything feels different. While in Tokyo, Kana discovers her grandfather had a love of his life outside of his arranged marriage to her grandmother. Meanwhile, Kana reluctantly confronts her own messy romantic past with old flame Hiro to see if the embers of their love still flicker.
We are kicking off the 27th edition Toronto Reel Asian International Film Festival with a night to remember! Come celebrate with us on Nov 2 from 8PM – 11PM (EST) for our Festival Launch Party, co-hosted by New Ho Queen!
Hosted by Patrick Salvani, the night will be filled with a mix of DJ sets and performances from Discoraphy, Lena Di, and Fio.
This is a free event.
2 Nov, 2023 8:00 pm
Commons Lobby at 401 Richmond Street
A collaborative exhibition by Jasmine Gui (special projects programmer, RA) & keiko Hart (co-curator), RA:X Puncta aims to present a plurality of punctum moments (as defined by Roland Barthes) that disturb and prick at diasporic Asian narratives and slip beyond an easy legibility of “Asianness”. The five works presented in this exhibition are honest yet uneasy, confrontational, and tender provocations that push in creatively personal ways, against and through the pressures and questions of their socio-political moments. Through our sustained attention, they may shake us up in particular and precious ways.
OPENING HOURS
Nov 10th – 11th, 1PM – 6PM
Nov 12th – 20th, 11AM – 6PM
Bachir/Yerex Presentation Space
401 Richmond Street West
Join co-curators in the exhibition space for a walkthrough and casual Q&A. This program overlaps with the festival’s happy hour programming.
Moderated conversation between co-curator keiko Hart and artists, Jes Hanzelkova, Vince Ha and Mo Phùng.
Moderated conversation between co-curator Jasmine Gui and artists, Noor Khan, Yasmeen Nematt Alla and Brannavy Jeyasundaram.
Hop onto Instagram Live to see the installation work digitally and chat with members of our exhibition team.
Noor Khan • Prescriptions
Video Installation
In 2019, artist Noor Khan began filming her project titled ‘Postscript’. PostScript is a double screen installation, exploring the geographical intersections of Parkdale and Scarborough. P.S. stands for Parkdale and Scarborough- suitably also short for “postscript” for all afterthoughts written after the letter has been signed. Policy-making in Toronto has caused both Parkdale and Scarborough to suffer, as the two are afterthoughts compared to more affluent areas (therefore, P.S.). Footage of storefronts located in each place sits side-by-side, while the audio provides a meditative experience of activity inside these stores as sites of cultural practice. This film draws parallels between communities by unraveling similar stories of cultural practice retained with the support of local stores and restaurants, and the conditions of gentrification that threaten cultural and economic livelihood throughout the West (Canada, U.S., U.K., and more).
Three months after winning the Silver Prize at Reel Asian Film Festival’s 2019 So You Think You Can Pitch competition, the pandemic hit, changing Noor’s production plans completely. Many changes occurred, especially the closing of the stores she documented, including Parkdale’s infamous ‘Island Foods’ on King and Dufferin.Three years later, this project takes on a new form after having time to reflect on past footage, and creating new components. The resulting project is titled ‘Prescriptions’. The word “prescription”, from “pre-” (“before”) and “script” (“writing, written”), refers to the fact that the prescription is an order that is written down before action takes place. This retrospective project takes the form of a sculptural installation, in which we see the film projected onto scrolls of paper. In this way, the artist compares her footage to policy, both predetermined, with no real knowledge of the after effects.
Vince Ha • Danger Comes Through the Mouth
Photographs and sculpture
When I was younger, my mother would often remind me “to keep my head down, and keep quiet,” or that “danger comes through the mouth,” all with the goal of maintaining family or community unity. At times, sharing collective stories in institutional spaces can be simmered down to reductive images of community harmony that can later develop into hurtful dynamics. I am not endorsing an overemphasis on disunity, or espousing a false dichotomy, but we must make room for conflict: it is a natural, and vital, element of our growth.
In this work, I use family photos, stripping them from their original coherence and weaving them into new contexts. The work encourages space for alternating narratives and messiness, possibly transcending the boundaries of our biological social institution. This work traces part of my meditation on what it means to embrace hurting—on a personal and communal level—to help us explore pre-healing and move beyond remembrance.
Jes Hanzelkova • I couldn’t see but it didn’t seem to matter anyways
Photographs and sculpture
I couldn’t see but it didn’t seem to matter anyways because the busy street, the quiet alley, the dark space, the empty mall, the sky, the ground, the air, my breath was displaced regardless.
As a series of three images taken between two-years this work documents an ongoing project in mask making and performance art. Each image holds one version of the mask and captures the performances from the same perspective in different places. Each mask is consistently white (a play on my cultural identity), positioned on the head (to play with the surface of the face), and modulates light to the rhythm of the wearer’s heartbeat (as a way of playing with the beautiful abjectness of mortality).
I am interested in masking as a way of both eluding and sitting-with the act of identification I undergo within the gaze of others as an East-Asian and feminine-presenting womxn. A push and pull between culture, place-memory, and constraint affects the ease of movement and the amount of face shown from image to image as the project progresses in time. In this way, these performances serve as a mirror where I perform my identity and all its ornamental and artificial derivatives. I focus on the ways which racialized and gendered identities have been forged out of the space between the biological, technological, and artificial. The space between the surface of the skin; the lens of the camera; a sleeve, an eye; the remixed and the glitching.
Brannavy Jeyasundaram • touch & flesh
Video installation
‘touch & flesh’ is a visual rendering of a workshop facilitated as part of Healing Arts Dinner Circle, a segment of Tamil Archive Project. The work is an attempt to understand our bodies as archives of tenderness, joy, laughter, and love. It was produced in April 2020 at the onset of the pandemic.
Touch is being increasingly removed from our physical vocabularies through the alienation of our labour and community networks. ‘touch & flesh’ asks what it means for our bodies to be called to attention through isolation. It also positions the archive as an embodied experience that must be retrieved, interpreted, and committed to memory.
As participants locate emotions that exist between the curves and contours of their flesh, they create dance at a time of increased restriction and paranoia around movement. Through screens in our independent spaces, we produce choreographies of tenderness and action. We insist — there is a shape to grief. There is a shape to joy, love, care, and laughter.
Featuring: Ambihai Akilan, Evelyn Ascencio, Kat Bell, Vidhya Elango, Manvinder Gill, Janany Jeyasundaram, Hazel Hayoung Ki, Yasietha Krishnakulasingham, Nyda Kwasowsky, Gowthaman Naguleswaran, Yasmeen Nematt Alla, Nirali Patel, Shanki Ratnanesan, Archana Ravichandradeva, Vasuki Shanmuganathan, Jennifer Su, Maneesa Veeravel, Renee Vettivelu, and Vanessa Vigneswaramoorthy.
Mo Phùng • Migration & (RE)Emergence
Mixed media
Through this work I dream worlds to honour my Vietnamese queer and trans ancestors, building them magical spaces of possibilities and freedom. Textural and visual storytelling creates space for intergenerational conversations – leaving marks and hints for ancestors of past and future, inviting them towards my current self.
My multiple identities have led me here, from the South China Sea to the North Atlantic Ocean. Saltwater is a means of travel, a piece of home, unhealed wounds, a marker of distance – expanding beyond the constraints of borders, and who we are allowed to become. A vessel of queerness allows these stories to be revealed and accessed.
If From Every Tongue It Drips is a documentary constructed between three locations that follows Ponni, who writes a form of 19th-century queer Urdu poetry called Rekhti, and her lover Sarala, a camera operator.
In this oddly sweet and gentle story, Hong, a shy young man, opens his eyes to love when he coincidentally meets Lele, the mistress of a sex worker business.
From dusk ‘til dawn, the night takes centre stage as a mood, setting, tone, and place for our characters’ lives and their environments to be illuminated on screen.
Challenging norms, paving the road, and telling fresh stories, our Canadian Spotlight Artist program is dedicated to a member of the dynamic and talented Asian Canadian film community. This program celebrates a selected artist by activating their journey, process, and future works.
Romeo Candido is a singular talent. A writer, director, and musician, his creative catalogue of work comprising musicals, horror, and comedy is a unique adventure. What else would you expect from the first Filipino born in Newfoundland? His genre-hopping career has been weaved into the fabric of Reel Asian, from his first feature film Lolo’s Child (1999) to the horror film Ang Pamana: The Inheritance (2007) to the bring-down-the-house live performance of the web musical Prison Dancer (2012) to his numerous short films in between. While we’ve recently seen exciting work from emerging Filipinx Canadian artists, Candido was an original. But like us, he’s far from done, as we feature Topline (2022) with a one-time-only live performance of his latest musical series.
Inspired by age-old Filipino folklore, this frightening thriller is a chilling story about the resurfacing of dark family secrets. Catch this special screening at Innis Town Hall.
AVAILABLE ONLINE
Romeo Candido’s latest musical foray TOPLINE takes us into the world of topliners: the people who write the lyrics, melodies, and hooks for the industry’s biggest stars.
NOV 20 at 7:00 PM
Presenting a collection of short and mid-length work from Candido’s career available online from Nov 14 - Nov 20.
AVAILABLE ONLINE
Amidst a mountain of food, jokes, prayers, joints, songs and Filipino Elvis impersonations, Lolo's Child questions, criticizes and celebrates the intricate underbelly of the Filipino-Canadian community.
AVAILABLE ONLINE
Keita is the hero and the hope of the remote island Shishikari thanks to his flourishing fig business, which is about to bring in a large government grant and revitalize the community.
Kiran, a first-generation Punjabi truck driver, is about to become a father, but he is preoccupied by questions and reflections on family, fatherhood, and responsibility.
A recent report released by the DOC Institute points to the lack of data on funding for documentary content produced by Indigenous, Black or racialized filmmakers. This panel will discuss why it's important for agencies and broadcasters to collect and share race based data in order to achieve their stated equity goals. The panel will also analyze the stories and experiences shared by BIPOC filmmakers which speak of systemic barriers to funding.
See the city in a new light! Reel Asian is thrilled to partner with the City of Toronto’s BigArtTo, a city-wide initiative involving large-scale projections across 25 wards in the city, to represent Routes & Rituals. Mark your calendars for November 17 to 20 as Routes & Rituals will be projected onto Fairview Library from 5pm to 8pm.
Routes & Rituals is originally a program contributed to Critical Distance Centre for Curator’s large-scale durational project Phase I of Place Settings. The program features video-based works by artists Nelson Wu, Farrah Miranda, and Basil AlZeri who approach food through bodied, material sites that reflect our relationships to one another, the land, and ourselves. These works expand beyond food as the act of consumption, contemplating varying pathways food is brought into existence, whether through kitchen utensils from a beloved store, repetition and stillness in sites of food preparation, or collective movement as resistance. Beyond the content, the respective formats of each video-based work further interrogate and negotiate the complexity and fluidity of food relationships.
Looking to see more? Viewable online alongside the works are in-depth artists talks that share further insight on the process, themes, and reflections of the project. Audio description are available for all works and Q&As for free online through VUCAVU.
Nelson Wu
Artist, Tuesday
Nelson Wu is a Chinese Canadian artist who creates pixel art and illustration. Graduating from OCAD University, he is currently working in the video game and entertainment industry. He has produced a variety of illustrations, pixel art, and animations. He is inspired by his experiences in Asia; a sense of nostalgia and surrealism are often themes present in the work.
Farrah Miranda
Artist, Speaking Fruit
Born in the Gulf to parents who were migrant workers, Farrah Miranda’s lived experience has confronted her with the way people, places, objects and experiences are bordered. This inspires aspects of Miranda’s artistic practice in which she questions how borders are enacted through processes of categorization, securitization, censorship and control.
Moving between the gallery and the public sphere, Miranda creates situations that actively engage the viewer. With mediums that range from manipulated found objects to performance, installation and new media, she experiments with the pedagogical possibilities of art in undoing colonial borders, citizenships and illegalities.
Basil AlZeri
Artist, a recipe for a bleeding heart
Basil AlZeri is a cross-disciplinary visual artist living and working between Toronto and Waterloo region, Canada. AlZeri’s practice involves the intersection of art, education, and food, taking multiple forms, such as performance, drawing, video, and ephemeral installation. His ongoing research and practice examine the politics and significance of work in our lives. Issues he addresses include professionalization, careerism, emotional/immaterial/unrecognized labour, and the co-optation of relational practices by socially engaged art. AlZeri’s work has been exhibited in Amman, Dubai, Halifax, Mexico City, Montreal, New York, Ottawa, Regina, Rome, Santiago, Tartu and Toronto.
USA
Since the advent of cinema and the forced colonization of the islands, Hawai’i stories on film have too often been told by outsiders. Reel Asian is bringing a spotlight onto two acclaimed Hawai’i-made dramatic feature films. Christopher Kahunahana’s award winning WAIKIKI is the first dramatic feature film written and directed by a Kanaka Maoli (Native Hawaiian). Christopher Makoto Yogi’s I WAS A SIMPLE MAN had its World Premiere at the Sundance Film Festival in 2021. Unique films and filmmakers, both Kahunahana and Yogi share a genuine reverence for their home and seek to provide images and sounds of the Hawaii they know.
In this moderated filmmaker to filmmaker conversation Kahunahana and Yogi will discuss each others films and the groundbreaking context that surrounds them.
15 Nov, 2021 7:00 pm
This presentation has on-screen ASL interpretation.
Set up on a pre-arranged date by their old-fashioned Indian parents, Ravi (Karan Soni) and Rita (Geraldine Viswanathan) seem to have nothing in common, which makes their first encounter comically awkward.
Kea can’t make ends meet, even while working as a luau dancer, karaoke-bar hostess, and elementary school Hawaiian-language teacher. After a violent altercation with her boyfriend, Kea accidentally hits a homeless man with her car. Not wanting to involve the authorities, she decides to take care of the mysterious man herself.
From a pile of deteriorating 16 mm home movies from 1936 to 1951, a moving story emerges of a Chinese American family, set against the backdrop of race and class in Chicago.
CanadaEnglish
Desh Pardesh ended in 2001, in large part due to a massive cut in public arts funding. Two decades later, organizers and artists from the festival discuss the impact of the festival and the ways in which we can learn from the success and challenges of running an unapologetic and political arts festival in the city of Toronto.
Panelists:
13 Nov, 2021 1:00 pm
GA
Join us in conversation with directors and special guests in attendance! ASL interpretation will be made available thanks to Toronto Sign Language Interpreter Services. Ticket holders can watch on the CineSend Reel Asian portal.
November 13, 2020 at 8PM
Narrative in Other Mediums is a panel that brings together creatives working in formats like video games, music videos, and commercials to discuss their experience and expertise with narrative construction and creative direction.
In this artist talk, Golboo Amani introduces us to her body of work, which often addresses and challenges the formal conditions of knowledge production and invites us to consider the power of alternate sites of pedagogy in creating collective agency and community building.
Cafe owner Kato closes up shop on an ordinary night only to be interrupted by a voice from the TV: his own voice, two minutes in the future. As Kato investigates the strange occurrence, the night and time itself start to unravel. Kato’s friends and colleagues get enveloped into his time warp, and the results are hilarious, calamitous and existential.
CanadaEnglish
Desh Pardesh ran multi-disciplinary workshops encouraging artistic experimentation and knowledge sharing at a time when access to formal learning and opportunities to participate in the larger mainstream cultural sector were minimal. These workshops and spaces of knowledge sharing are often spoken of and regarded as transformational—as catalysts that propelled people mildly curious in the arts to actually pursue their own practice. In this artist talk, Golboo Amani introduces us to her body of work, which often addresses and challenges the formal conditions of knowledge production and invites us to consider the power of alternate sites of pedagogy in creating collective agency and community building.
Artist: Golboo Amani
12 Nov, 2021 5:00 pm
GA
Join us in conversation with directors and special guests in attendance! ASL interpretation will be made available thanks to Toronto Sign Language Interpreter Services. Ticket holders can watch on the CineSend Reel Asian portal.
November 13, 2020 at 8PM
In the electrifying lead-up to the multi-city Aurat March (Women’s March) in Pakistan, director Anam Abbas follows grassroots organizers as they navigate a deeply surveilled and violent environment to assert a growing, nation-wide feminist movement. Negotiating freedoms with fearful relatives and dodging constant scrutiny, activists move with unbreakable commitment to galvanizing their communities with a radical feminist agenda.
This panel is specifically built for filmmakers working in children’s programming. Join this informative discussion with CBC to learn how to break into and develop a career in the field in a way that can create a better future for kids.
Narrative in Other Mediums is a panel that brings together creatives working in formats like video games, music videos, and commercials to discuss their experience and expertise with narrative construction and creative direction.
240 minEnglish
We're kicking off ReelAsian24 with a bang! 
Party with us (digitally of course) on Nov 6 at 9PM (EST) for our Zoom Festival Launch Party and fundraiser hosted in partnership with ISO Radio, New Ho Queen x Hot Pot Community, Ricecake, and Bubble_T.
The night is jam packed with some of the best from coast to coast with DJ sets from Toronto faves Paul Chin, Roshanie, Discography x Lazy Suzn x Kai, and a drag performance from Ms. Nookie Galore. From the House of Rice in Vancouver, Bella will be DJing with performances by Maiden China, Kara Juku, Skim, and House Mother Shay Dior. Last but not least the imitable West Dakota joins us all the way from NYC!
35 minEnglish
Each year, Reel Asian celebrates Asian talent with awards for features and short films. Juried by distinguished creatives, filmmakers and industry professionals, these awards speak to the brilliant talent within our communities and the meaningful impact these stories leave with our audiences. This year, you're invited to join co-hosts Lainey Lui and Angela Sun as they reveal the award winners for the 24th Toronto Reel Asian International Film Festival. So, get your drinks ready and tune in for appointment-viewing to find out who the award winners are for this edition!
Lainey Lui
Co-host of CTV’s THE SOCIAL, ETALK anchor, and scribe of the immensely popular celebrity gossip blog, LaineyGossip.com, Lainey Lui does what she does for one reason – to provide a gossip education to the Canadian public. Lui is regularly called upon as a celebrity expert by media outlets worldwide and has covered The Oscars, The Golden Globes, The Olympics, and Royal weddings.
Angela Sun
Angela Sun is a mad, fat, first generation/ settler theatre performer, creator, producer, arts administrator, and writer of Chinese descent. She has previously performed in or co-created works for Koffler.Digital (Koffler Centre of the Arts), The Bentway, the Gardiner Museum, and the Art Gallery of Ontario; as well as the Toronto Fringe Festival, the Hamilton Fringe Festival, SummerWorks Performance Festival, Paprika Festival, and the InspiraTO Festival.
Osler Best Feature Film Award
All feature works are eligible for this prize. $,1500 cash prize.
CineSend Best First Feature Award
All first feature films are eligible for this prize. $1,000 cash prize.
The Truth to Power Award
All documentary films are eligible for this $1,250 cash prize, donated by Karla Bobadilla, Diang Iu, Immanuel Lanzaderas, Sonia Sakamoto-Jog and Victoria Shen.
Change Connect Award
All films made by 30 & under artists are eligible for this prize. $500 cash prize.
National Film Board of Canada Best Canadian Short Film Award (Emerging)
All short works made by emerging Canadian artist (with credits fewer than 4 films) are eligible for this prize of post-production services, $5,000 value.
Air Canada Short Film or Video Award
All short films and videos are eligible for this prize. Opportunity to broadcast on Air Canada’s in-flight entertainment screens on international flights.
Animasian Award
All animated works are eligible for this prize. $600 cash prize.
WIFT Toronto Film Award
All films made by female-identified Ontario-based artists are eligible for this prize. $500 in programming gift certificates and one-year membership to WIFT Toronto.
Carrianne Leung
Carrianne Leung is a fiction writer and educator. Her debut novel, The Wondrous Woo was shortlisted for the 2014 Toronto Book Awards. Her collection stories, That Time I Loved You was named one of CBC’s Best Books of 2018.She is currently working on a new novel, titled The After.
Melissa Bisagni
Melissa Bisagni is the Media Initiatives Program Manager at the Smithsonian Institution’s National Museum of the American Indian (NMAI), in Washington, DC. She was previously the Director of Programming for the DC Asian Pacific American Film Festival where she is a senior advisor.
Danis Goulet
Danis Goulet is a writer and director. Her films have screened at Berlin, Sundance and the Toronto International Film Festival (TIFF). She is a former programmer for TIFF and a former director of the imagineNATIVE Film + Media Arts Festival. Her debut feature NIGHT RAIDERS is currently in post production.
*All decisions made by the juries are final and binding and not subject to appeal.
Mandeq Hassan
Mandeq Hassan has spent years working extensively in the film industry. Hassan has been a key member of the Toronto-based distribution company Sisterhood Media and her credits include popular works Gay Mean Girls and The Regent Park Project. She received the 2019 Director’s Guild of Canada New Visions Award.
Ammar Keshodia
Ammar Keshodia is a filmmaker and curator. He has worked on the programming teams for festivals such as TIFF, SXSW, and Overlook. In 2019, he served as the Lead Programmer at Reelworld Film Festival. He has written for publications such as Bright Wall/Dark Room, NANG Magazine, and Peephole Journal.
Fransiska Prihadi
Fransiska Prihadi is an architect, co-founder of art-house cinema MASH Denpasar and has been the program director of Minikino Film Week, Bali International Short Film Festival since 2015. She is now working on her research thesis about international short film festivals for her Master of Tourism Studies at Udayana University.
Founded in Toronto in 1997, Reel Asian is Canada’s largest pan-Asian film festival and a year-round cultural organization dedicated to championing Asian and Asian diasporic artists and storytellers. What began as a grassroots film festival has grown into a national platform supporting filmmakers and audiences through screenings, education, industry initiatives, artist development, and community programming presented across Toronto, the GTA, and online across Canada.
401 Richmond Street West, The Commons (Suite 448)
Toronto, Ontario, M5V 3A8 Canada
(416) 703 – 9333
info@reelasian.com
Charitable number: 870021383RR0001
