Posts Tagged ‘chinese films’

14 Chinese Indie Films in Spain, curated by Bérénice Reynaud

Tuesday, September 27th, 2011

September 26-October 13

La Filmoteca de Catalunya reprises

14 titles from the San Sebastian International Film Festival Program

“Digital Shadows: Last Generation Chinese Film”

The San Sebastian cycle was curated by Bérénice Reynaud, Co-Curator, Film at REDCAT; the second program was curated in collaboration with the Filmoteca de Catalunya

For more information: cultura.gencat.cat/filmo/

REN XIAO YAO / UNKNOWN PLEASURES (2002), Jia Zhangke
Jia Zhangke films Datong’s barren post-industrial landscape to portray the different ways a group of unsatisfied youngsters express their ‘disgruntlement’ with things around them: Bin Bin and his best friend, Xiao Ji drive their scooters aimlessly in a future with no hope. FIPRESCI Prize at the Singapore Festival.

September 26 and 27

LING YIBAN / THE OTHER HALF (2006), Ying Liang and Peng Shan
An efficient – and often humorous – mixture of documentary and fiction, told in fractured and punctuated mode with a series of fascinating illustrations filmed in the context of an industrial accident in the Sichuan city of Zigong. Winner of awards at the Tokyo, Jeonju and Singapore festivals.

September 28 and 29

MEISHI JIE / MEISHI STREET (2006), Ou Ning and Cao Fei
A powerful document on the havoc wreaked by the chaiqian (“demolition and relocation”) introduced by the government and companies hell-bent on revamping urban Beijing for the Olympic Games seen through the testimony of a restaurant-owner who refused to budge.

September 30, October 2

XUE CHAN / LITTLE MOTH (2007), Peng Tao
Debutant Peng Tao adapted Bai Tianguang’s novel Xue Chan, and spent weeks in the mountainous area of Hubei province selecting the cast of non-professional actors to depict the lives of professional beggars, deprived of the right to vote and occupying the lowest rung on the social ladder.

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Hong Kong Film Festival features new films by Jia Zhangke, Zhao Liang, Xu Tong, and Yu Guangyi

Tuesday, March 15th, 2011

Shattered (dir. Xu Tong)

The 35th Hong Kong International Film Festival begins March 20th and runs to April 5th. We’re pleased to see that several films from directors who have films in the dGenerate catalog will be presenting new works, including some world premieres like Yu Guangyi’s Bachelor Mountain and Xu Tong’s Shattered. More information on these films, and a list of other Chinese films screening at HKIFF, after the break.

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dGenerate Titles Fortune Teller, Tape to Screen at Rotterdam Film Festival

Monday, January 10th, 2011

Artist Li Ning performing "Tape"

The International Film Festival Rotterdam (IFFR), one of the leading venues for global cutting-edge cinema, announced its Bright Future program of debut and second feature films by fresh filmmaking talent from around the world. Five Chinese titles are included in the lineup, including two represented by dGenerate Films: Fortune Teller by Xu Tong and Tape by Li Ning. dGenerate Films is the North American distributor of Fortune Teller and the international sales agent for Tape.

The IFFR runs from January 26-February 6, 2010 in Rotterdam. Both directors Xu Tong and Li Ning will be present at the festival. Screening dates and details will be announced later.

The full Competition lineup for the prestigious Tiger Award will be announced over the coming days. We expect more exciting titles from China to be announced, possibly featuring names familiar to the dGenerate catalog. Stay tuned.

Berenice Reynaud Spotlights Six Chinese Films at Vancouver

Monday, December 27th, 2010

Thomas Mao (dir. Zhu Wen)

Judging by the extensive coverage of Chinese films at the Vancouver International Film Festival, one can conclude that it is one of the key venues to see the best of Chinese cinema outside of China. We’ve already pointed to reports by VIFF Dragons and Tigers programmer Shelly Kraicer, Film Comment’s Robert Koehler and MUBI’s Daniel Kasman. In the latest issue of Senses of Cinema, Berenice Reynaud offers an in-depth take on half a dozen Chinese-language titles, among many other films reviewed from the festival. Some excerpts:

On Li Hongqi’s Winter Vacation: “Li alternates wordless, rigorously composed scenes with instances of sparse dialogue, a Beckett-like hollowing of everyday platitudes.”

On Zhu Wen’s Thomas Mao: “Another scintillating example of neo-Chinese wit.”

On Jia Zhangke’s I Wish I Knew: “Old Shanghai is disappearing in the wake of unprecedented urban destruction (a lot of it caused by the World Expo itself); I Wish I Knew captures it as a dream, a memory, a flow of cinematic images that are as fluid and immaterial as the two rivers that run through it.”

On Hao Jie’s Single Man: “Visceral, off-colour, generous to a fault, Hao Jie’s Guanggun (Single Man) is one of the most exciting filmmaking debuts in years.”

On Zhao Dayong’s The High Life: “Zhao plays with our narrative expectations, blurring the lines between fiction and self-representation.”

On Xu Tong’s Fortune Teller: “Following Li and Little Pearl on the back alleys and dusty roads of rural China, Xu – whose first film, Mai shou (Wheat Harvest, 2008) was the controversial portrait of a lower class prostitute leading a double life – casts an unsentimental gaze at these humble lives that the “new and harmonious society” would like to keep under the rug.”

Reynaud concludes of the latter three films:

During the Mao years, conformity was the norm. Now the powers-that-be want to transform the citizens into quiet, obedient consumers. Films such as Single Man, High Life or Fortune Teller outline the gap between these grand plans and the way people live, point out the heightened contradictions of modernisation. Whether they resort to fictionalisation or experimental techniques, they manage to capture something of this reality that Lacan perceived as left over between the symbolic (the laws) and the imaginary (the utopias of socialism or free market).

Read Reynaud’s complete festival report at Senses of Cinema.