Celebrities began arriving for the ceremony, with Oscar-winning director Ang Lee among the celebrities to walk down the red carpet in Taipei’s Sen Yat-sen Memorial Hall.

Chinese director Zhang’s martial arts epic, inspired by traditional ink-brush painting, leads with 12 nominations including for the coveted best film, best director, best leading actor and actress awards.

Taiwanese comedy “Dear EX” about a widow fighting for her husband’s inheritance against his gay lover, follows closely with eight nods in the best film and best acting categories, plus a best new director nod for Taiwanese duo Mag Hsu and Hsu Chih-yen.

Best director contenders are all from China. Zhang, Jiang Wen (“Hidden Man”) and Lou Ye (“The Shadow Play”) will face off against 29-year-old Bi Gan (“Long Day’s Journey Into Night”) and Tibetan Pema Tseden (“Jinpa”).

Zhang has never won Golden Horse best director, while former actor Jiang, who starred in Zhang’s classic “Red Sorghum”, won the title with his directorial debut “In the Heat of the Sun” in 1996.

The best acting awards are also dominated by Chinese talent, with Taiwan’s Roy Chiu and Hsieh Ying-xuan fighting for a home win for their respective roles as the gay lover and widowed mother in “Dear EX”.

China’s Deng Chao, who plays the double of an official trained to protect him in ancient China in “Shadow”, is a frontrunner for best actor against compatriots Xu Zheng (“Dying to Survive”), Duan Yihong (“The Looming Storm”) and Peng Yuchang (“An Elephant Sitting Still”).

Deng’s wife, Chinese television star Sun Li, who also plays his wife in “Shadow”, is vying for best actress against Zhou Xun in Japanese director Shunji Iwai’s romance “Last Letter” as well as Zhao Tao (“Ash is Purest White”) and Zeng Meihuizi (“Three Husbands”).

Three Chinese dramas — “Long Day’s Journey Into Night”, “Dying to Survive” and “An Elephant Sitting Still” — are also in the running for best film.

The best documentary category sees “Our Youth in Taiwan” about the island’s 2014 Sunflower Movement pitted against “Umbrella Diaries: The First Umbrella” about Hong Kong’s pro-democracy Umbrella Movement. Both mass protests were led by young activists and reflected increasing resistance to Beijing’s influence.

Over 40 films out of a record 667 submitted were nominated for the 55th edition of the Golden Horse Film Awards, with the ceremony due to start at 7:00 pm (1100 GMT).

On Sunday, it is breaking new ground with its first non-English series, “My Brilliant Friend,” an Italian-language adaptation of a wildly popular series of novels by Elena Ferrante.

The much-anticipated premiere is evidence of the globalization of television in the internet era, with audiences no longer primarily concentrated in America.

Fans of the books — Ferrante is a pseudonym and the true identity of the author is unknown — are champing at the bit to see the series.

More than 10 million readers have fallen in love with the novels — the tale of a life-long friendship between Elena and Lila, who first meet in Naples in the 1950s — since the first one was published in 2011.

The broadcast rights for the eight-episode HBO series were sold in 56 countries. It will air in Italy on public broadcaster RAI from November 27 and on Canal Plus in France in December.

Even in the United States, where books translated into English barely represent one percent of the market, the four Neapolitan Novels have been big business, with 2.6 million copies sold, according to publishing house Europa Editions.

But the leap to the small screen is still a risky one for HBO, which is collaborating with RAI on the series, which was filmed in Italy by Italian director Saverio Costanzo.

The dialogue is actually in the thick Neapolitan dialect, and not pure Italian, so even RAI will show the series with subtitles.

“That really struck me,” Costanzo told The Hollywood Reporter.

“I asked why an American network should care about the accuracy of a language if their audiences would be watching the series with subtitles. They replied that they wanted the series to be authentic,” he added.

“There, in that moment I understood why HBO is HBO.”

Non-English programming rare in US

Such attention to detail and authenticity is relatively new in the United States.

In 2009, Quentin Tarantino tiptoed in that direction with World War II romp “Inglourious Basterds,” which was filmed in part in German and French.

But until very recently, television series were wary of jumping on board.

Then came “The Americans” (2013-18), the award-winning FX series about Russian spies living in America during the Cold War, which featured long sequences in Russian.

And as the world’s television consumers turn more and more to streaming platforms to find new shows, they are more open to subtitled programming. Danish political drama “Borgen” is one striking example of cross-border success.

Netflix’s “Narcos” — which was filmed in Spanish and English, and debuted in 2015 — “opened the door for the others, by showing that authenticity was vital to the success of a series,” explains Lorenzo Mieli, executive producer of “My Brilliant Friend.

“We couldn’t imagine American actresses playing Italian schoolgirls in poor areas of Naples in the 1950s,” Mieli told a roundtable discussion at MIPCOM, an annual industry trade show held last month in Cannes, France.

Truth in showbiz

Once the leap was made towards more authentic productions, one more leap remained: how to ensure that the novels were not warped in the adaptation process.

“From the very first book by Elena Ferrante, I felt that we shared the same ideas and also the same stubbornness about making things look legit on screen,” Costanzo said at the Venice Film Festival in September, where the first two episodes of the show premiered.

Francesco Piccolo — who co-wrote the screenplay with Costanzo, Ferrante and Laura Paolucci — said the author made suggestions throughout the process, and gradually became more at ease.

Her suggestions were “never to defend the books, but more about how to best convey the ideas on screen. She had great confidence in Saverio,” Piccolo said.

The HBO series is indeed faithful to the book, a sweeping story of friendship, admiration, rivalry and jealousy. It offers a near-documentary look at Naples in the 1950s, where Elena and Lila meet at school.

Both girls are unusually intelligent for their age, and they grow close as they try to escape the violence of their rundown part of town, where the old “eye for an eye” theory of justice prevails.

Filmed in an industrial wasteland in the Naples area, the series brings to life the neighborhood that is stifling them, with only a shabby courtyard on which to play and school as the only escape.

The saga on the female condition is somewhat contemplative, with detailed depictions of everyday life interspersed with the mounting tension between the main characters.

“This series is totally different from what we are used to seeing on Italian television,” Mieli said at MIPCOM.

“We don’t see people running around all over the place — instead we are focused on the complexity of the female characters’ point of view,” he explained.

“I think this may open the door to a new way of storytelling.”

The show will also be available on HBO GO via AIS Play and AIS Playbox.

The behind-the-scenes show chronicles Tiger Woods and Phil Mickelson, two of the sport’s most accomplished competitors (with 19 major championships combined), as they prepare to go head-to-head at Shadow Creek in Las Vegas on November 23.

“24/7 The Match: Tiger Vs. Phil” will go inside the ropes before the match, offering an all-encompassing look at the careers of these two superstars and their roads to this head-to-head competition, including in-depth interviews with them about the rich history behind their rivalry and friendship – and the intensity that drives both to try and best the other when they meet for this monumental clash.

Since turning pro in 1996, Woods has been a force of nature on the links, revolutionising the sport with a fierce competitive streak never seen before. Woods, 42, has amassed 14 major wins, second only to Jack Nicklaus’ 18, and is two PGA Tour wins away from becoming the most accomplished golfer in history.

His recent win at the Tour Championship electrified sports fans worldwide and underscored his return to championship mode.

Mickelson, 48, turned pro in 1992 and ranks ninth all-time with 43 PGA Tour wins; he’s won five majors, including three memorable victories at Augusta National. Golf fans have been treated to the Tiger and Phil grouping 37 times on the PGA Tour, with Woods holding a slight edge at 18-15-4.

Actor Liev Schreiber narrates.

HBO. New episodes will be screened at the same time every Monday and Tuesday.

The series will also be streaming on HBO Go via AIS Play and AIS PlayBox.

“The Bridge” is a suspenseful investigative thriller that begins when a body is found exactly halfway between Singapore and Malaysia on the second link bridge between the two countries. The body is split in half and made up of two different women. Two detectives from each country, Megat (played by Malaysia’s Bront Palarae) and Serena (played by Singapore’s Rebecca Lim), are assigned to investigate the double murder. Throughout the investigation, the killer reveals that he will bring to light five issues that are causing rot on both sides of the border.

As the story unfolds, a connection between the killer and the ones chasing him becomes apparent and it seems that the killer has one last score to settle. The 10episode, hourlong drama is a Viu Original series, produced in association with HBO Asia and licensed by Endemol Shine Group. The series will be available on HBO Asia’s channels and services in the following countries: Brunei, Cambodia, Hong Kong, Indonesia, Macau, Maldives, Mongolia, Myanmar, Palau, Papua New Guinea, the Philippines, Singapore, South Korea, Sri Lanka, Taiwan, Thailand and Vietnam.

Also starring are Cheryl Samad (Malaysia) as Detective Megat’s wife, Erin Tajuddin and Gavin Yap .

“The Bridge” is directed by Lee TheanJeen and Jason Chong.

 All stories can be global stories, especially when they screen on a global platform like Netflix. And now two original Thai productions will be making a splash in the world, one directed by Sophon Sakaphisit, the other by Wisit Sasanatieng and Sittisiri Mongkolsiri

The projects were announced last week along with 15 other new Asian original productions at Netflix’s first-ever content showcase in the region – “See What’s Next: Asia” held in Singapore.

Unveiled by Netflix chief executive and founder Reed Hastings and chief content officer Ted Sarandos, as well as performers and creators from Netflix series and films, the new productions are from Japan, Taiwan, Thailand, India and South Korea.

The first Thai series is titled “Khweng” (“The Stranded”). Directed by Sophon who works with GDH Film Studios, it tells the story of Kraam, an 18-year-old boy who survives a devastating tsunami along with 36 of his fellow students attending an elite private high school on a remote island in the Andaman Sea. As mysterious events start happening on the island, it quickly becomes clear that no one is coming to rescue them and Kraam must lead the others in a fight for survival. Sophon, whose previous films include “Phuan Thee Raluek” (“The Promise”) and “Laddaland”, will work with Netflix under GMM Grammy & H2L Media Group. The executive producers are Ekachai Uekrongtham, Gary Levinsohn, Steven Sims, Billy Hines and Christian Durso.

The second Netflix original content from Thailand is “Oubatikaan” (“Shimmers”). Directed by Wisit and Sittisiri, it’s a drama series focusing on five teenagers at an isolated school in Northern Thailand. Over a school break, they find themselves haunted by the ghosts of their pasts, only to discover they are threatened by a much more terrifying mystery. Both are established filmmakers working with Transformation Films Studio, with Wisit’s new horror offering “Singsoo” (“Reside:) slated for release on December 5. Sittisiri, whose previous film was “Last Summer”, is finalising his latest horror project “Sang Krasue” written by Chookiat Sakveerakul.

Netflix is the world’s leading internet entertainment service with 130 million paid memberships in 190 countries and in 20 different languages. It brought its service to Asia in 2016 and has been investing in Asian content ever since. The fare has continued to gain in popularity, especially animations from Japan, South Korea, Japan and Taiwan. Indonesian content, particularly in the action genre, is also popular but for horror, Netflix has turned to Thailand. These two projects join 100 new and returning originals across eight countries in Asia through 2019 as Netflix increases its investment in Asian storytellers, amplifying their voices to the world.

The announcements build on the momentum created by some of Netflix’s first forays into Asian storytelling this year with titles like the crime thriller “Sacred Games” (India), anime series “DEVILMAN crybaby” (Japan) and variety comedy “Busted!” (Korea), which is being renewed for a second season and will see Lee Seung-gi from “A Korean Odyssey joining the cast. Another series that has done remarkably well is the anime series “Trese” based on the Philippine graphic novel by the same name, created by Budjette Tan and Kajo Baldisimo.

“These series and films are finding new fans everywhere. We are liberating access to entertainment and have removed the barriers of fixed television schedules and to language. Our different business models unlock content from anywhere in the world for the rest of the world and we’re constantly opening opportunities for creators in Asia,” Sarandos told The Nation.

“Asia is home to the world’s greatest creative centres producing some of the most compelling films and series of today that easily connect with viewers all over Asia and the world,” he continues, adding that more than half of Asian content hours viewed on Netflix this year were watched outside the region.

Erika North, director of Original content APAC announces the first Thailand original series on Netflix “Khweng” (“The Stranded”) by Sophon Sakdaphisit./Netflix photo

“Southeast Asia is a very diverse market and it’s early days for Netflix here in Southeast Asia. Our focus is working with the great depth of talent in this region. It’s a hotbed for filmmaking and TV talent and there’s a great genre tradition in this part of the world – horror from Thailand, action from Indonesia, crime thrillers from Hong Kong and Taiwan –so really what we’re looking for are stories that haven’t yet been told in the long-form format,” says Erika North, director of Original content APAC.

“I believe viewers want a highly curated selection of great content so what we’re looking for are both the best-in-class shows and stories that couldn’t be told in the traditional system,” adds Kim Min-young, Director of International Originals at Netflix.

The titles announced last week will join a rich library of Asian, Hollywood and international content on Netflix that’s matched to members’ personal tastes – in whichever language they prefer and devices they’re watching on, all without commercials or commitments.

“See What’s Next: Asia” also presented the fourth season of the hit series “Nacros” with a new chapter dubbed “Narcos: Mexico”. It will available on Netflix from Friday. Another highlight comes from actor-filmmaker Andy Serkis – the drama “Mowgli: Legend of the Jungle”. Serkis says that his Mowgli version tries to be true to the original story written by Rudyard Kipling and is darker than the other adventure versions that have been made. The film will have an exclusive limited theatrical engagement beginning November 29 and launch globally on Netflix on December 7.

A scene from the zombie series set in the Chosun era, “Kingdom”./Netflix photo

Another highlight is South Korea’s first original Netflix series “Kingdom”, which brings together cast and crew from screenwriter Kim Eun Hee’s TV drama “Signal” and is directed by Kim Seong-hun of “Tunnel” fame. The film stars Bae Doo-na, Ju Ji-hoon and Ryu Seung-ryong in a period thriller horror set in the Chosun dynasty where the Crown Prince (Ju) is sent on a suicide mission to investigate an outbreak caused by a zombie virus thought to have killed the king.

Fans of Korean zombie flicks have to wait until January 25 to watch “Kingdom”, which is presented in six episodes and will stream globally. Even though the series has yet to be released, chief executive Hastings underlined his conviction it would be a success by announce the season two renewal.

Hastings also told participants that the variety of content on Netflix from movie to documentary, big or small shows, is going to expand, the result, he said, of internet development helping the streaming service prosperity.

“This is what the Internet allows, first it’s on demand, second it’s personalization and third it’s bringing the world together through the sharing of content,” he says.

Animation fans were thrilled to hear that “Pacific Rim” would be returning and continue its focus on the epic battle between Kaiju and Jaegers. The series follows two siblings – an idealistic teenage boy and his naive younger sister – who are forced to pilot an abandoned Jaeger across a hostile landscape in a desperate attempt to find their missing parents.

The original Netflix series “Altered Carbon”, which launched earlier this year, will transform into an anime production, set in the same universe of the Netflix live-action sci-fi series. The animation will explore new elements of the mythology.

Another new Asia original Netflix production us the Taiwanese original series “Triad Princess”. Growing up in the shadow of her Triad father, Angie craves an independent life of her own. Defying her father’s wishes, she takes on a gig as an undercover bodyguard for a famous actress at an agency, where she must navigate the unfamiliar world of glitz, glamour and even love.

  Continuing the story begun in David Milch’s critically acclaimed, Emmy winning HBO series, the feature-length presentation is written by Milch, directed by Daniel Minahan and features original cast members from the series.

In the “Deadwood” film, the indelible characters of the series are reunited after 10 years to celebrate South Dakota’s statehood. Former rivalries are reignited, alliances are tested and old wounds are reopened, as all are left to navigate the inevitable changes that modernity and time have wrought.

Returning cast members for the “Deadwood” movie include Ian McShane (Al Swearengen), Timothy Olyphant (Seth Bullock), Molly Parker (Alma Ellsworth) and Paula Malcomson (Trixie). The film will also feature new cast member Jade Pettyjohn (Caroline).

During its threeseason, 36episode run on HBO from 2004 to 2006, the “Deadwood” series was nominated for 28 Primetime Emmy Awards, winning eight, including Outstanding Directing for a Drama Series for Water Hill and also received a Golden Globe Award for Best Performer by an Actor in a Television Series – Drama for Ian McShane.

The “Deadwood” film is executive produced by David Milch, Carolyn Strauss, Daniel Minahan, Gregg Fienberg, Scott Stephens, Ian McShane and Timothy Olyphant.

The project also earned a cash prize of US$15,000.

Another project from Singapore “Ah Girl” by director Ang Geck Geck and producer Fran Borgia picked up the Open SEA Fund Award, which gives one Seafic project credit towards equipment rental from VS Service worth $10,000 and post-production services provided by White Light Post worth $15,000.

“Raising a Beast” from Laos and its co-producer Steve Arounsack were

 recognised with the Seafic -TFL Award, for which Matthieu Darras, artistic director of TorinoFilmLab, chooses one producer from Seafic to attend this year’s TorinoFilmLab Meeting Event (November 23-24), with flight and accommodation covered.

The prizes come after eight months of intense script and project development for the five selected projects under the guidance of international experts.

In addition to the existing partnership with Produire au Sud and TorinoFilmLab, this year Seafic also announces a new partnership with Link of Cine-Asia, organised by the Busan Film Commission and Asian Film Commissions Network. Held in parallel with last month’s Busan International Film Festival, Link of Cine-Asia sponsored the five Seafic producers from this year to travel to Busan and pitch at their forum.

The five projects selected for Seafic’s second lab year concludes the curriculum at the Seafic Open House three-day event held earlier this month at Alliance Francaise Bangkok and Goethe-Institut. Aside from the winners, the other two projects are Thailand’s “Arnold is a Model Student” by director Sorayos Prapapan and Indonesia’s “Crocodile Tears” by Tumpal Tampubolon.

Sorayos’s project received the Hubert Bals Script Development Fund and previously attended Ties That Bind, Produire au Sud and Tokyo Talents labs. His short “Death of A Sound Man” premiered at the Venice Orizzonti competition.

These awards were unveiled after a live final pitching session by the Seafic filmmakers in front of a distinguished international jury that included Killer Films’ Christine Vachon, the producer of “Carol”, and the director of the Hong Kong-Asia Film Financing Forum (HAF) Jacob Wong.