Posts Tagged ‘documentary’

Acclaimed Documentary Ghost Town Makes Weeklong Run at MoMA

Monday, March 8th, 2010

Ghost Town (dir. Zhao Dayong)

Following its triumphant US Premiere at the 2009 New York Film Festival, Zhao Dayong’s Ghost Town will enjoy a weeklong run at the Museum of Modern Art in New York. The MoMA will screen Ghost Town at the following dates:

  • Monday, March 15, 2010, 3 p.m.
  • Wednesday, March 17, 2010, 4 p.m.
  • Thursday, March 18, 2010, 7 p.m.
  • Friday, March 19, 2010, 3:30 p.m.
  • Saturday, March 20, 2010, 4 p.m.
  • Sunday, March 21, 2010, 12:30 p.m.

Tickets can be purchased at the MoMA Film Box Office adjacent to the The Museum of Modern Art, 11 West 53 Street, New York, NY. Details at the MoMA site.

Further details and trailer after the break.

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Venice Prizewinning 1428 to screen at MoMA

Monday, February 15th, 2010

dGenerate Films is proud to present a special US screening of
Du Haibin’s 1428 at the Documentary Fortnight at the Museum of Modern Art.

1428, directed by Du Haibin, won last year’s Best Documentary Award at the Venice International Film Festival. A stunning exploration of the 8.0 earthquake that shook China’s Sichuan province in 2008, causing 70,000 deaths and 375,000 casualties, the film has an eerie resonance to the recent tragedy in Haiti.

PLEASE JOIN US AT THE FOLLOWING SCREENINGS:

SATURDAY, FEBRUARY 27, 3:30 pm

MONDAY, MARCH 1, 4:30 pm

Museum of Modern Art
11 West 53 St
New York, NY 10019

Click through for more information.

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Chinese authorities have withdrawn two films from the Palm Springs International Film Festival (Jan. 5-18) in protest of the scheduled screening of a documentary about Tibet and the Dalai Lama.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

Monday, November 2nd, 2009

Crude Oil (Photo courtesy of Light Industry)

Triple Canopy and Light Industry present the East Coast premiere of Wang Bing’s Crude Oil, a fourteen-hour film installation tracking a fourteen-hour workday of crude-oil extraction in northwest China, from Wednesday, November 4 to Sunday, November 8. The film will be viewed from 9am until 11pm each day, running five times in its entirety.

Accompanying Crude Oil in an adjacent room will be a film program by Matthew Coolidge of the Center for Land Use Interpretation and Lucy Raven (7:30pm, Wednesday, November 4) as well as screenings of Wang Bing’s Coal Money (4pm, Saturday, November 7) and West of the Tracks (12pm, Sunday, November 8). A curated DVD library of related films will be available for viewing throughout the week.

The central theme of the program, as stated in a note from Triple Canopy, is “work, workers, workplaces, and the landscapes of labor,” which provide a dwelling place for art in today’s world of “sheer speed, placelessness, and impersonality of global finance.”

The screenings will be held at Industrial City, 220 36th Street (between 2nd and 3rd Avenue), 5th Floor, Brooklyn, New York. More details can be found here. Descriptions of Wang Bing’s films follow.

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Chinese Indies Awarded at Yamagata International Documentary Film Festival

Tuesday, October 20th, 2009

In this year’s Yamagata International Documentary Film Festival, running from October 8 to October 15, Chinese director Cong Feng’s Doctor Ma’s Country Clinic won the Directors Guild of Japan Award; Ji Dan’s Spiral Staircase of Harbin, and Mao Chenyu’s Ximaojia Universe won Special Mentions in the New Asian Currents unit.

First held in October 1989, the biannual YIDFF is one of the longest running documentary film festivals in the world and the most distinguished among such festivals in Asia. Chinese directors have a formidable award record in the fest. Former winners include Tie Xi Qu: West of the Tracks (2003) and Fengming: A Chinese Memoir (2007), both by Wang Bing, and Before the Flood (Dir: Li Yifan and Yanyu, 2005) for the The Robert and Frances Flaherty Prize (The Grand Prize), as well as Wellspring (Dir. Sha Qing, 2003) and Bingai (Dir. Feng Yan, 2007) for the Ogawa Shinsuke Prize.

Four films from mainland China, all independently-produced, entered this year’s New Asian Currents unit. They are:

In the arid mountains of remote and inaccessible Huangyangchuan, Gansu Province, a small country clinic becomes a dual space for healing physical pain, and also for expressing and sharing psychological sufferings. The anger, complains, and lamentations of the patients offer a dissecting view of the lives and spirits of the local farmers.

Two slices of life from two unrelated families in an old working class neighborhood in Harbin, located in northeast China. A mother lives with her daughter when the father is in jail; an old man is tormented by a seemingly fatal disease, harsh economy and a spoiled son. The director calls this film a re-examination of the shadowed forest in the middle of our life.  (Synopsis summarized from a report by Ma Ran for Fanhall.com.)

In the dual role as a group member and an ethnographer, the filmmaker engages in an anthropological study of the Ximao clan, and reconstructs the mythology and cosmology of a simple village through the study of its poetry and political life.

  • Disorder (Xianshi shi guoqu de weilai, dir. Huang Weikai, 2009)

An urban symphony, consisting of footage from a dozen filmmakers, weaves together over twenty bizarre incidents in daily life in Guangzhou, including a lunatic dancing ecstatically in the middle of the street, pigs running wildly on a highway, a fight over counterfeit money, an escaped alligator, and many more.

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Sixty Years of Unsanctioned Memories in the People’s Republic

Wednesday, October 14th, 2009

At the 60th anniversary of the founding of the P.R.C., Fanhall.com published a list of fifteen key independent documentaries as their tribute to the celebration. Entitled “Sixty Years of Unsanctioned Memories in the People’s Republic,” these digital video films present vivid pictures of Chinese life, society and landscape rarely seen in government-approved news or the overwhelming reports about China in mainstream western media. They present and reflect on modern Chinese history from the perspective of common citizens and marginalized social groups. German-Jewish political philosopher Hannah Arendt distinguishes private and public realms as “the distinction between things that should be hidden and things that should be shown.” These independent works try to break the line and present the hidden, “private” scenes and stories to the public. The list also links to the synopses of the films, some with English translations.

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Chris Berry on Ghost Town

Friday, September 25th, 2009

I received the following message from Chris Berry, who had recently watched the film Ghost Town by Zhao Dayong, which will have its international premiere at the 2009 New York Film Festival. In these remarks, he places the film within the context of the Chinese independent documentary movement. (For more information, see CinemaTalk interviews with Chris Berry and China documentary scholar Lu Xinyu.)

I finished watching Ghost Town last night. It’s a very fine film indeed. One of the reviews mentioned Jia Zhangke. But I immediately thought of Wang Bing. The three-part structure, the epic historical theme with larger social implications, the patient observational filmmaking, the people speaking to camera but the filmmaker’s own absence, all these things made me think of Wang Bing. And like his films, it has a strong sense of historical consciousness, an eye for unique material, and a real sympathy for the people in the film and their tough lives. It’s a testament to the continuing strength of the Chinese documentary movement.

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Jian Yi to Show New Documentary at Yale

Monday, September 14th, 2009

dGenerate director Jian Yi (Super, Girls!) is to screen his new work New Socialist Climax (Hong Se Zhi Lü) at the Auditorium of Henry R. Luce Hall, Yale University in New Haven, Connecticut on Thursday, September 17 at 8pm.  This special screening is in coordination with the international conference on “Culture, Conflict & Mediation” sponsored by Yale, Cambridge and Qinghua Universities (September 17-19, 2009).  A Q&A session with the director will follow.

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Zhao Dayong’s Ghost Town Premieres at the NYFF, Tix on Sale Sunday!

Friday, September 11th, 2009

The dGenerate team have been working feverishly in preparation for Zhao Dayong’s amazing documentary (and dGenerate title) Ghost Town’s international premiere at the prestigious New York Film Festival.  Ghost Town, the only Chinese film in this year’s festival, screens Sunday, September 27 at 2:15 at the Lincoln Center.  We strongly advise you to get tickets in advance, as the NYFF screenings always sell out quick.  Tickets go on sale this Sunday, September 13.

Jury members Dennis Lim and Scott Foundas had this to say about the film:

  • “Ghost Town is one of the most surprising and rewarding films I’ve seen all year, one of the most important films to have emerged from the booming (but still underexplored) field of Chinese independent documentaries.” – Dennis Lim, film critic, Editor of Moving Image Source, New York Film Festival selection committee member
  • “I didn’t think there was another Jia Zhangke or Wang Bing lurking out there, but it turns out there is!” – Scott Foundas, film critic, Film Editor of L.A.Weekly, New York Film Festival selection committee member

Click here for more information on Ghost Town.

Click here to buy tickets to the New York Film Festival.

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Shelly on Film: What is a Chinese Film?

Wednesday, September 9th, 2009

By Shelly Kraicer

San Yuan Li

San Yuan Li (dir. Ou Ning, 2003)

What is a Chinese film?  Ever since I’ve started living and working in Beijing over six years ago, most serious discussions about Chinese cinema ultimately come down to this elemental question, either in its descriptive mode (what defines a Chinese film?) or in its more urgently prescriptive version (what should a Chinese film be?).  Often, it’s filmmakers themselves who seem most anxious about the issue.  Behind it lie several subsidiary anxieties: “What do Westerners want from Chinese films?”, “What’s my role in Chinese society?”, “Are films art, or commerce, or politics?”

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