Archive for the ‘Chinese Cinema Events’ Category

Tibetan films at the Maysles Institute (NYC) in March

Friday, March 12th, 2010

Tibet In Harlem 2

From the Maysles Institute website:

TIBET IN HARLEM 2: ORIGINS March 14–20, 2010
Presented by the Modern Tibetan Studies Program at Columbia University, Maysles Cinema, Machik and the Kham Film Project.
Series Programmers: Robert Barnett, Lynn True, Nelson Walker.

“A remarkable renaissance has been quietly taking place within Tibet, almost completely unknown to the outside world: a group of largely self-taught Tibetan intellectuals and artists have suddenly emerged who are making films about Tibetans and Tibetan life. In the last five years, these directors, each of them working alone and without state support, have found new ways to show Tibetan culture and life on screen. Their filmic visions are nothing like those made in the west or in China. Led by the works of Padma Tseten, which stand in their own right as major films by any standard, this festival showcases the early works of some of these filmmakers as they search for new ways of talking about being Tibetan.”

- Robert Barnett, Director, Modern Tibetan Studies Program, Columbia University

Tibet in Harlem 2: Origins is the second annual series of Tibetan and Tibet-related films at the Maysles Cinema in Harlem. This year’s program showcases a collection of rarely screened early films – both documentary and fiction – by some of the most important Tibetan and Chinese filmmakers working in Tibet today.

Full description and schedule after the break.

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An Evening with Jia Zhangke, with dGenerate’s Kevin Lee

Friday, March 5th, 2010

In conjunction with MoMA’s Jia Zhangke retrospective, the director hosts a screening March 8 at 7pm of his Wo men de shi nian (Ten Years,2007) and Black Breakfast (2008), a segment from the international omnibus film Stories on Human Rights, as well as a sneak preview of an excerpt from his latest film, Shanghai Legend aka I Wish I Knew. Followed by a conversation between Jia Zhangke and Howard Feinstein, independent curator and critic; and Kevin B. Lee, critic, filmmaker, and programming executive, dGenerate Films.

Event details and ticket information found at MoMA.

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US Premiere Screening of “lost” classic Chinese film Confucius

Thursday, February 25th, 2010
The China Institute SINOMATHÈQUE Film Series presents
US Premiere Screening of Confucius
Saturday, February 27, 2010
Two showings: 5 pm and 7 pm

Confucius (96 min., FEI Mu, 1940, B&W, Digital Beta, Mandarin Chinese & English Subtitles)

In collaboration with the Hong Kong Film Archive, China Institute is proud to present master director FEI Mu’s film classic Confucius (1940), an early 20th century portrayal of Confucius’ thought and life. Directed by Fei Mu (1906 –1951), the leading filmmaker of Chinese left-wing cinema movement prior to China’s pre-Communist era, Confucius was premiered in Shanghai and later shown across China from the end of 1940 through 1941. It was presumed lost following its brief re-run in 1948 until the Hong Kong Film Archive received a film negative of Confucius donated by an anonymous collector in 2001. With the help of the experts from the renowned film restoration and conservation workshop L‘Immagine Ritrovata of Italy and extensive research by local scholars, the Hong Kong Film Archive released the film during the Hong Kong International Film Festival in 2009.

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Asia Society presents Chinese Films Series with Jia Zhangke, dGenerate Titles

Monday, February 22nd, 2010

Fujian Blue (dir. Robin Weng)

From the Asia Society website:

China’s Past, Present, Future on Film

March 6 – April 16, 2010
Asia Society and Museum
725 Park Avenue
New York, NY 10021

Independent filmmaking in China is undergoing a renaissance, thanks to a fast-changing China that provides limitless inspiration and the availability of affordable digital technology. This film series begins with a documentary about leading Sixth Generation filmmaker Jia Zhangke, whose works like Xiao Wu (1997) and Platform (2000) propelled Chinese independent films to worldwide admiration. It continues with other recent films, two of them produced by Jia, that examine a dark chapter of China’s past, take penetrating looks at current social phenomena, and explore the hearts and minds of China’s future generations.

Tickets: $7 members; $9 students/seniors; $11 nonmembers.
Series discount: buy tickets to 4 or more films in one transaction to receive $1.50 off each ticket. Click here to buy discount.

Box Office:
Phone: 212-517-ASIA
Web: https://tickets.asiasociety.org

Full schedule after the break.

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Jia Zhangke Retrospective at MoMA in March

Wednesday, February 10th, 2010

From the Museum of Modern Art press release:

Jia Zhangke: A Retrospective is the first complete U.S. retrospective of this internationally celebrated contemporary filmmaker who, in little more than a decade, has become one of cinema’s most critically acclaimed artists and the leading figure of the sixth generation of Chinese filmmakers.  The exhibition screens in The Roy and Niuta Titus Theaters from March 5 through 20, 2010, and includes Jia Zhangke’s (Chinese, b. 1970) entire oeuvre: eight features and six shorts, dating from 1995 to 2008.  The retrospective is organized by Jytte Jensen, Curator, Department of Film, The Museum of Modern Art.

The director will be at MoMA with Zhao Tao—his leading actress since her debut in Zhantai (Platform) (2000)—to introduce most of his films at screenings between the opening night film on Friday, March 5, at 7:00 p.m. of Shijie (The World) (2004), through the screening on Monday, March 8 at 4:00 p.m. of Black Breakfast (2008) and Sanxia haoren (Still Life) (2006).  Jia will also participate in a special Modern Mondays event at MoMA on the evening of March 8 at 7:00 p.m., where he will discuss his recent films and present two shorts and a sneak preview of a segment of his upcoming feature, Shanghai Chuan Qi (I Wish I Knew, 2010), followed by a discussion.

Full press release and schedule after the break.

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Reviews from Rotterdam: Oxhide II and Sun Spots

Tuesday, February 9th, 2010

Oxhide II (dir. Liu Jiayin)

The International Film Festival Rotterdam concluded this past weekend; this year’s edition was of special interest to us, what with eighteen films by Chinese directors or with a Chinese theme.  Two indie films in particular drew critical attention, much of which is summarized below.

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Documentary master Zhao Liang at Minneapolis (tonight!), Boston and New York (next week!)

Friday, January 29th, 2010

Petition (dir. Zhao Liang)

In the recent Top Ten Chinese Films of the 2000s poll, one of the top-ranked documentaries was Zhao Liang’s Petition: The Court of the Complainants. A pretty impressive showing, given that the film was just released last year and has been seen by relatively few people, even in Chinese cinema circles. Tonight folks in Minneapolis will have a chance to see what some are calling the most exciting Chinese documentary since West of the Tracks.

Zhao Liang will be visiting the Walker Art Center this weekend to present his films Petition and Crime and Punishment. Then he will visit the East Cost to present his work at the Fairbank Center for Chinese Studies at Harvard University, the Harvard Film Archive, the China Institute in New York, and the Center of Religion and Media at New York University.

Information on his films and a full schedule of his programs after the break.

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18 Chinese Films at Rotterdam Film Festival

Wednesday, January 27th, 2010

Sun Spots (dir. Yang Heng)

18 films by Chinese directors or with a Chinese theme will be presented at this year’s International Film Festival Rotterdam, which runs from January 27 to February 7. Among these films include Oxhide II, Liu Jiayin’s follow up to her debut feature Oxhide (recently voted one of the top ten Chinese films of the past decade). Sun Spots, the second feature by Yang Heng (whose debut Betelnut is a dGenerate Films ttle) will be in competition for the VPRO Tiger Award.

City of Life and Death, Lu Chuan’s controversial big-budget feature depicting the Nanjing Massacre, has inspired a sidebar of related films, several of which date back to the time of the historic tragedy.

The full lineup of films can be found after the break. (more…)

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Skirmishes and Struggles Over Tibet Docs

Friday, January 15th, 2010
Filmmakers Ritu Sarin and Tenzing Sonam (photo courtesy of Friends of Tibet.org)

Filmmakers Ritu Sarin and Tenzing Sonam (photo courtesy of Friends of Tibet.org)

Chinese authorities have withdrawn two films from the Palm Springs International Film Festival (Jan. 5-18) in protest of the scheduled screening of a documentary about Tibet and the Dalai Lama.

The more prominent of two films, City of Life and Death (also known as Nanjing! Nanjing!), written and directed by Lu Chuan, is a critically acclaimed fictionalized account of atrocities committed by the Japanese occupiers in 1937. According to a report on The Desert Sun, a local paper at Palm Springs, CA, the festival director Darryl Macdonald “regards the film as one of the best unsung films in the festival, but said its merit isn’t enough to subvert the festival’s adherence to artistic freedom.” The other film is Ye Kai’s comedy Quick, Quick, Slow.

A report on the New York Times calls the dispute “a bona fide diplomatic incident,” observing that “while Chinese officials told the festival’s director that the filmmakers themselves had decided to withdraw their state-financed works, many China experts believe that it is the state sending a message, rather than the individuals.”

The report also reviews the recent history of “protest[s] by Chinese officials that the arts, and film specifically, are being used as a weapon to meddle in their internal affairs.”

In August, two American filmmakers were blocked from traveling to China to present their documentary about the more than 5,000 children in Sichuan Province who died when a 2008 earthquake caused numerous schools to collapse. Computer hackers and demonstrators took aim at the Melbourne International Film Festival in Australia in July to protest its screening of a documentary about a leader of Muslim Uighurs in the Xinjiang region of northwest China, where some 200 people were killed in ethnic violence last summer. And at last fall’s Frankfurt Book Fair, a diplomatic struggle emerged over the fair’s invitation to two dissident Chinese writers to speak at its official program honoring China.

The target of this protest is The Sun Behind the Clouds: Tibet’s Struggle for Freedom, directed by Ritu Sarin and Tenzing Sonam. According to the program at Palm Springs, the film “follow[ed] [the Dalai Lama] over an eventful year, including the 2008 protest in Tibet, the long march in India, the Beijing Olympics and the breakdown of talks with China.”

More news, and a trailer of The Sun Behind the Clouds, after the break.

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Report on the China Independent Film Festival by Chris Berry

Friday, January 15th, 2010
Spring Fever

Spring Fever (dir. Lou Ye)

In the new issue of Senses of Cinema, Chris Berry offers a review of the 6th China Independent Film Festival, held this past October in Nanjing. An excerpt:

By international standards CIFF is a relatively small and under-resourced event. Screenings are scattered across a range of minor colleges, art galleries and museums in Nanjing, a former capital up the Yangtze from Shanghai. This year, approximately 70 experimental films, documentaries and dramatic features, almost all of them low-budget Chinese films, were included. Lou Ye’s Chunfeng Chenzui de Yewan (Spring Fever) won the Best Film award, and Ying Liang’s Hao Mao (Good Cats) and Zhang Jianchi’s Bai Qingting (Take Me to Vietnam) shared the Jury Prize. Anywhere else in the world, such an event would be a minor festival attracting little if any international coverage. But the very particular circumstances of China mean that CIFF can claim to be the most important film festival in the country.

Berry goes on to explain the significance of the festival’s programming, describes the collegiate atmosphere of the community forged by the festival, and identifies trends in Chinese independent filmmaking as reflected in the festival lineup. As a fellow attendee of the festival, I can attest to the festival’s extraordinary atmosphere and a special sense of camaraderie cultivated among its participating artists.

The rest of Berry’s report can be found at Senses of Cinema.

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