INhonolulu Magazine Issue #16 - April 2014 | Page 8

Profile / Art Truck

From page 6
Unforgiven (6 p.m., Sunday, April 6 & 9 p.m. Tuesday, April 8, DC): A remake of the powerful 1992 Clint Eastwood film of the same name, this version takes place in 19th century Japan on the island of Hokkaido and stars
Ken Watanabe in the lead role. He plays a reclusive but noted swordsman who is tempted out of seclusion by a
large bounty.

Art by the S.E.A.

To Be Takei (8:15 p.m., Sunday, April 6 & 6:30 p.m. Wednesday, April 9, DC): The documentary about Star Trek
icon, gay rights activist and “Facebook superstar” George Takei premiered at this year’s Sundance Film Festival.
Takei is enjoying a rejuvenated career these days thanks, in large part, to his robust social media presence and
his use of memes and other Internet-age forms of communication. His current projects include the stage musical Allegiance, drawn from his experience of growing up in internment camps during World War II, and the
recently published book, Oh Myyy! There Goes the Internet.

James Charisma

Dom Hemingway (9 p.m. Sunday, April 6 & Monday, April 7, DC): Jude Law goes over the top in his portrayal
of the titular anti-hero, a brash gangster who—after more than a decade in prison—sets off with his partner-incrime to collect what he’s owed for keeping quiet about his boss. The film co-stars Richard E. Grant, Demian
Bichir and Emilia Clarke, better known as the dragon-owning Daenerys Targaryen in Game of Thrones.
Lilting (6:30 p.m. Monday, April 7 & 3:45 p.m. Tuesday, April 8, DC): The sudden death of a young London man
leaves his headstrong Chinese-Cambodian mother and his white boyfriend each in a personal and profound
state of grief. This quietly moving drama won a cinematography award at the Sundance Film Festival and stars
Ben Whishaw and legendary Chinese actress Cheng Pei-pei.
The Little House (7 p.m., Monday, April 7, HTC; 3:15 p.m., Thursday, April 10, DC): Japanese filmmaker Yoji
Yamada is a festival favorite, with six of his dramas featured at HIFF dating back to 2002’s Twilight Samurai. His
latest film takes place in pre- and post-war Tokyo and is supposed to be a real tearjerker of a melodrama about
a housemaid who finds out about a secret love affair between the lady of the house and her husband’s younger
work colleague.
Kumu Hina (7 p.m., Thursday, April 10, HTC): A docu-drama about kumu hula and mahu Hina Wong-Kalu.
Despite her success as a teacher, she longs for love and a committed relationship. Will her marriage to a headstrong Tongan man fulfill her dreams? The film is a co-production of Independent Television Service in association with Pacific Islanders in Communications.
Ghost in the Shell: Arise (9 p.m., Thursday, April 10, DC): This showing features two new episodes of the latest
series from the landmark anime franchise. “Border 1: Ghost Pain” and “Border 2: Ghost Whisper” are the first
two episodes of Arise, a prequel to the previous Ghost in the Shell incarnations, and take place one year after
World War IV. The new series is co-directed by Kasuchika Kise, the lead animator/animation director for the
original groundbreaking 1995 film.
Final Recipe (7 p.m., Monday, April 14, HTC): A return engagement for one of the festival’s more popular
entries of last fall, this Pan-Asian melodrama, directed by Korean up-and-comer Gina Kim, is about a highschool student whose enthusiasm and gift for food preparation is frowned upon by his chef-grandfather, who
was hoping his grandson would attend college rather than take over his crumbling restaurant.
The Attorney (7:30 p.m. Monday, April 28, HTC): Korean star Song Kang-ho plays the title role in this inspirational drama based both on true events and the life of the late Roh Moo-hyun, who became a human rights
advocate and, later, South Korea’s ninth president.
Page 8

A

dair Hill gets around. As
the owner (and driver) of
the Art Truck, Hill sells
prints, photos and original artwork all across O‘ahu. The business model is simple: Artists
give Hill their work, and he acts
as part-manager, part-gallery,
part-delivery man.
By operating out of a large
truck instead of from a shop or
office, he saves on rent and can
bring artwork to where the people
are, whether that’s in town or the
country. Because of his (relatively)
low overhead costs, artists can get
more of a cut for the sale of their
work, encouraging lower prices—
which lead to more sales.
“I love it,” Hill says. “It’s a venture that incorporates the elements
Continued on next page
Page 9