Cover Fan Bingbing at the Far East Film Festival 2026 (Photo: Far East Film Festival)
Fan Bingbing at the Far East Film Festival 2026 (Photo: Far East Film Festival)
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Fan Bingbing dazzles at Europe’s premier Asian cinema showcase in northern Italy, where Malaysian film ‘Mother Bhumi’ steals the spotlight—and the Chinese superstar proves there is genuine artistry beneath the global glamour
Hidden in the foothills of Italy’s Dolomite mountains, a mere 100 kilometers north of Venice, the splendid city of Udine, far off the usual tourist map, is transformed for nine days each year into a Little Asia as it hosts Europe’s flagship Far East Film Festival. The 28th edition has just ended, showcasing over 70 films from across the Orient, transforming Udine into a cosmopolitan destination filled with glamorous actors, directors and movie moguls from China and Hong Kong, Japan, Taiwan and South Korea, Thailand, Vietnam, Philippines, Indonesia and Singapore.
But for the first time, the star of the Festival has undoubtedly been Malaysia, with the spotlight trained firmly on the presentation of Mother Bhumi by director Chong Keat Aun, starring China’s global icon, Fan Bingbing.
Above The city of Udine (Photo: John Brunton)
The city of Udine (Photo: John Brunton)
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The festival draws some 70,000 film fans each year, with the main venue, Teatro Nuovo Giovanni, seating 2,000 people for each sold-out screening. But wandering the narrow cobbled streets and grand medievals piazzas of Udine, it is clear that the whole city is transformed during FEFF with kung-fu displays, manga exhibitions, calligraphy and origami ateliers, meditation and yoga sessions, Asian cooking classes, pop-up sushi and noodle stalls. Although in terms of generating media buzz, promoting films and the big business of selling distribution and rights, FEFF is positioned alongside Venice’s historic Mostra del Cinema and the red carpet celebrity of Cannes, the whole vibe here is very different, far more funky, quirky and relaxed.
Above Casa della Contadinanza (Photo: John Brunton)
Casa della Contadinanza (Photo: John Brunton)
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Drop in at lunchtime at Casa della Contadinanza, the rustic wood-beamed restaurant in the shadow of Udine’s massive castle, and you’ll see Festival stars casually sitting round shared tables tucking into the local San Daniele prosciutto, creamy tagliatelle pasta and wild mushroom risotto. There is no heavy-handed security or intrusive paparazzi, with respected directors like South Korea’s Kim Tae-yong happy to pose for selfies.
Malaysia had a second entry, Woo Ming Jin’s The Fox King by which was well received by critics and the local Italian public, while 57 year-old Singaporean director, Patrick Lam, presented his first feature film, The Old Man and His Car, a bittersweet tale echoing Clint Eastwood’s Gran Torino about the difficulties of growing old in the island republic.
This year’s FEFF saw a cameo appearance from the legendary Wim Wenders to present an award, while the biggest cheers in the Teatro came for Hong Kong’s iconic martial arts choreographer Woo Ming Jin. Presenting his latest blockbuster, Blades of the Guardians, the 80 year-old maestro who created the action scenes in The Matrix, Kill Bill and Crouching Tiger, Hidden Dragon, confided that he has no intention of slowing down and is already working on a new production.
Above Director Chong Keat Aun and Fan Bingbing (Photo: Far East Film Festival)
Director Chong Keat Aun and Fan Bingbing (Photo: Far East Film Festival)
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But all eyes during the last days of the festival were on Fan Bingbing, the 44 year-old Chinese actress who has surprised the movie world by accepting the title role of Mother Bhumi, an ambitious, poetic and political film written and directed by Chong Keat Aun. Fan is already the veteran of over 100 films, ranging from the Chinese masterpiece, I Am Not Madame Bovary, to Hollywood’s box-office hit X-Men: Days of Future Past. She has served on the Film Festival juries at Cannes, Berlin and Tokyo, and has already garnered Taiwan’s Golden Horse Award this year as Best Actress in a Leading Role for Mother Bhumi.
Above Fan Bingbing received the Golden Mulberry Lifetime Award (Photo: Far East Film Festival)
Fan Bingbing received the Golden Mulberry Lifetime Award (Photo: Far East Film Festival)
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Here in Udine, FEFF awarded her their prestigious Golden Mulberry Lifetime Award, and dressed in a glittering gown from the latest couture collection of Vietnamese designer Phan Huy, Fan was both humble and emotional when making her acceptance speech, citing perseverance in navigating through the inevitable ups and downs of an acting career as the most important element in her success. Today she is followed by some 70 million fans on Instagram and Weibo, transcending the world of fashion as brand ambassador for Louis Vuitton, while a single reel filmed of the star here in Udine surpassed 850,000 views.
But the biggest shock comes when when the film begins to roll and the glamorous Fan Bingbing seated in the audience is transformed in the opening shot of Mother Bhumi as a Kedah peasant planting rice in the paddy fields round Bujang Valley, a rural community near Malaysia’s border with Thailand, and also the hometown of director Chong. Fan thanked him for carefully looking after her during the filming, and wearing a simple working smock and no make-up, we see her play the role of widowed farmer and village shaman, on screen for almost the whole film as she gets dragged through the dirt and dust, speeding around on an ancient motor scooter, chanting mantras and exorcising black magic spirits, battling evil destroying bottled baby fetuses, burning a giant Buddhist phallus and along with numerous scenes caressing the family’s giant but gentle water buffalo.
I think Malaysian cinema is growing in a very exciting way—authentic, brave, and with unique voices
The Chinese actress certainly gives a tour de force performance in this enthralling film that has a distinctive art house quality while also addressing politically sensitive issues such as the legacy of British colonialism on land deed ownership on the Thai border, with references to the downfall of President Suharto in Indonesia and the Reformasi movement in Malaysia.
Talking with her in a quiet moment after the screening, Fan was clearly delighted with her experience filming Mother Bhumi, saying, “Malaysia is truly a hidden gem. The energy there was so vibrant, so colorful, yet with a very calm soul. I loved the mix of cultures, the food, of course, and the crew’s dedication. There’s a sincerity in Malaysian cinema that really touched me.” She also expressed firm views on the local film industry, commenting that, “I think Malaysian cinema is growing in a very exciting way—authentic, brave, and with unique voices. I saw some of Keat Aun’s work already, and his visual language and emotional restraint are very powerful. I would absolutely love to work on another Malaysian film if the right story comes. No hesitation.”
The dates for next year’s FEFF have already been announced—from 23 April to 1 May 2027—and it really is the ideal opportunity to fly in and visit Venice then explore the little-known countryside of Northern Italy while booking seats in advance to see the newest films that are being produced in the Far East.
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John Brunton is a British journalist and photographer specialising in travel and culture, wine and food who contributes regularly for The Guardian, The National, South China Morning Post and to Lonely Planet theme books. Living currently in Paris and Venice, he returns regularly to cover Southeast Asia after being based in Kuala Lumpur for five years.
