Posts Tagged ‘film festival’

dGenerate Directors Applauded by David Bordwell

Thursday, October 22nd, 2009

Observations on Film Art” is a blog run by prominent film scholars David Bordwell (author of numerous books including Poetics of Cinema, The Way Hollywood Tells It, and Ozu and the Poetics of Cinema) and Kristin Thompson. In Bordwell’s recent review of the Vancouver International Film Festival (October 1-16), humorously entitled “Wantons and Wontons,” dGenerate director Liu Jiayin’s new film Oxhide II won his high compliment.

Naming the film “the most exciting Asian film I saw at VIFF,” Bordwell considers the 132-minute film about a family making dumplings as “a demonstration of how a simple form, patiently pursued, can yield unpredictable rewards.” This sequel to Oxhide further explores the themes of family dynamics and economic hardship, and Liu displays her mastery in handling the tension between a quasi-documentary aspect and self-conscious artistry even better. As Bordwell notes: “[A]lthough everything looks spontaneous, it was all completely staged—written out in detail, rehearsed over months, reworked in test footage, and eventually played out in ‘real time.’”

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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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Tony Rayns praises Chinese Indies at the Vancouver Film Festival

Tuesday, October 6th, 2009

In Joanne Lee-Young’s article for the Vancouver Sun, longtime Asian film programmer and critic Tony Rayns spotlights some of his favorite films in this year’s Vancouver International Film Festival Dragons & Tigers Program of Asian cinema. Our own blog contributor Shelly Kraicer programmed the Chinese titles in the series, some of which are mentioned below:

Rayns: “In the last 10 years or so… nearly all of the creative energy in [mainland] Chinese cinema has come from the independent sector, from kids working outside the film industry.”

This means that when there is an event, like the devastating Sichuan earthquake last year, filmmakers like Du Haibin, “who has always been drawn to the marginal, the dispossessed and people who are socially at the bottom of the ladder,” said Rayns, rush off to film those events.

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Fourth BIFF Celebrates Chinese-Language Indies

Tuesday, September 15th, 2009

Co-sponsored by Fanhall Films and Li Xianting Film Fund, the 4th annual Beijing Independent Film Festival was held from September 1st to September 7th in Songzhuang Arts District in suburban Beijing.  The program focused on Chinese-language independent films from around the world and consisted of six units.  Films from Greater China were divided into three units: fictional features, documentary features and short films (including experimental shorts and animations).

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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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dGenerate Directors Featured in Dragons & Tigers

Thursday, September 10th, 2009

by Lu Chen

Tony Rayns and Shelly Kraicer, programmers of the Vancouver International Film Festival’s big Dragons & Tigers: The Cinemas of East Asia section, have announced a program that will showcase a total of thirty-five features, four mid-length films and twenty-two shorts, as of publication. Dragons & Tigers is one of the preeminent showcases of East Asian films in the world, and a stepping stone for many young Asian filmmakers. This year it will feature five World Premieres, eight International Premieres, twelve North American Premieres and two Canadian Premieres from seventy countries.

Four dGenerate Films directors are featured in the program.

  • Gay activist and radial filmmaker Cui Zi’en’s Queer China, ‘Comrade’ China uses rare testimonies from theorists, activists and artists to outline the modern origins of Chinese homosexuality through its attempted suppression to its breakthroughs in the last decade.
  • Zhao Dayong’s (whose documentary Ghost Town will have its international premiere at the New York Film Festival on September 27) Rough Poetry brings together political theater and faces in closeup by putting eight characters in a cage, playing themselves, including a cop, a prostitute, and a poet.
  • Liu Jiayin’s Oxhide II is a sequel to her dGenerate title Oxhide and uses the occasion of making dumplings with her parents to structure this formally daring, wryly amusing look at family dynamics, economic burdens and the ethics and aesthetics of cooking from scratch.
  • Yang Heng’s (Betelnut) Sun Spots tells a tale of love, betrayal and revenge set in a verdant mountain paradise in central China, and captures the anguish and passion of a youthful lost generation.

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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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Liu Jiayin’s Oxhide II wins at CinDi Seoul

Monday, August 31st, 2009

On Tuesday, August 25, the 3rd Cinema Digital Seoul (CinDi) film festival in Seoul, Korea concluded with director Liu Jiayin’s feature Oxhide II receiving the Blue Chameleon Award, chosen by a jury of international critics.  The film, which was invited to the Director’s Fortnight at Cannes, also received an audience award, the White Chameleon.

Liu Jiayin is one of the youngest and most promising independent filmmakers in the Digital Video movement in China.  She made her first feature Oxhide, a dGenerate title, when she was twenty-three, and served as writer, director, cinematographer, as well as a character in the three-character film.  Boldly transforming documentary into fiction, Liu Jiayin cast her parents and herself as fictionalized versions of themselves in an intimate portrait of a father’s leather bag business and a family’s anxiety over its decline.  Daily life in an impossibly cramped Beijing apartment takes on epic proportions in this intimate portrait, with unprecedented access of a working-class Chinese family.  In an review on Cinema Scope, Shelly Kraicer praised the film as “the most important Chinese film of the past several years–and one of the most astonishing recent films from any country.”

Oxhide II, Liu’s second feature, is the sequel to Oxhide and continues to follow the fate of the same business and the same family.  Using real time in the shoot, the film takes place when the family gathers to make and eat dumplings, a quintessential family ritual in China.  In an interview with Fanhall Films, Liu Jiayin mentioned that in Oxhide II, she reduces the dramatic quality of Oxhide in order to present a “diluted” (xishi) life.

Launched in July 2007, CinDi aims at discovering, presenting and supporting a new generation of digital films and filmmakers in Asia.  Chinese-language films covered half of this year’s program.  Xu Tong’s documentary Wheat Harvest won the top Red Chamelon Award, for which the Chinese independent director Lou Ye (director of Suzhou River and Summer Palace) served in the jury.  Lou’s film Spring Fever was the opening night film of the festival.

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Ghost Town: a New Chapter for Chinese Cinema at the New York Film Festival

Wednesday, August 19th, 2009
Ghost Town (photo courtesy of Fanhall Films)

Ghost Town (photo courtesy of Fanhall Films)

Marking a breakthrough for the Chinese digital filmmaking community, director Zhao Dayong’s Ghost Town (Fei Cheng, 2008) was selected for the 47th New York Film Festival (September 25 – October 11), as the only Chinese entry in the lineup. This low-budget documentary shot on HD has never been shown in any major festival outside China; as of this article it has yet to even appear on IMDb and All Movie Guide. Yet it joins a prestigious NYFF lineup that features new works by renowned directors such as Alain Resnais, Pedro Almodovar, Jacques Rivette, and Lars von Trier. Its inclusion in the NYFF represents a first in the festival’s program: a nod to China’s digital generation of documentary filmmakers.

According to the website of Fanhall Films, a multi-faceted indie film support organization based in Beijing, the three-hour documentary is not about phantoms, but the Lisu and Nu minority villagers in the abandoned halls of a remote former communist county seat in the southwestern province of Yunnan, China. Consisting of three chapters, “Voices,” “Recollections,” and “Innocence,” the film observes and records the mode of existence of the nameless and the forgotten, offering extraordinary insights into such topics as religious faith, relationships, juvenile deviants, generational differences, and lost history.

Dennis Lim, a member of this year’s NYFF jury and a major voice in promoting Chinese independent cinema, shared his reasons for selecting the film with dGenerate Films’ Kevin Lee: “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.” Fellow jury member Scott Foundas also considered the film an exciting discovery, exclaiming: “I didn’t think there was another Jia Zhangke or Wang Bing lurking out there, but it turns out there is!”

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Shelly on Film: An Inside Tour of The Chinese Independent Film Circuit

Monday, August 10th, 2009
The Iberia Center for Contemporary Art, Home of the Chinese Independent Film Archive (Photo courtesy of Iberia Center of Contemporary Art)

The Iberia Center for Contemporary Art, Home of the Chinese Independent Film Archive (Photo courtesy of Iberia Center of Contemporary Art)

By Shelly Kraicer

Whenever I am interviewed about Chinese independent cinema, the question that comes up more often than anything else is “Can these kind of films be shown in China?”

The situation is changing, rapidly, and in substantial ways. The answer used to be “Yes, sort of”.  Now, it’s “Yes, most definitely”.

Independent films, i.e. films made outside the government censorship system, can’t be shown in regular commercial movie theatres.  When I arrived in Beijing back in 2003, one had to do a bit of investigative work to find screenings; at art galleries, a few bars and cafes, and occasionally on university campuses: all low- to zero-profile events.  Now, though, there is, if not exactly a profusion, then something like a blossoming of screening opportunities for “unauthorized” Chinese indie films.

One such event, which I attended in early April, provides a handy opportunity to sketch out a provisional, though hopefully not too superficial overview of the Chinese independent film scene.

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