Posts Tagged ‘film festival’

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.

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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Chinese indie films pull out of film festival in response to Uighur doc

Thursday, July 23rd, 2009

Three Chinese films have been pulled from the Melbourne International Film Festival program Tuesday in the wake of pressure from Chinese government representatives in Australia last week, regarding the premiere of documentary 10 Conditions of Love, which profiles Rebiya Kadeer, the leader in exile of the Uighur minority in western China.

The three films in question are Emily Tang’s A Perfect Life, Zhao Liang’s documentary Petition (which premiered at Cannes in May), and Jia Zhangke’s short film Cry Me a River.

From The Hollywood Reporter:

Kadeer has widely been blamed by Beijing for inciting this month’s ethnic riots, which left at least 156 dead, mostly Han Chinese, in the Xinjiang Uighur Autonomous Region.

Festival organizer Richard Moore told The Hollywood Reporter that the filmmakers objected to the presence of Kadeer at the festival and the inclusion of “10 Conditions” in the program.

On July 15, Moore received a call from Chinese consular staff in Melbourne demanding that “10 Conditions” be withdrawn ahead of its Aug. 8 premiere and wanting justification for its inclusion.

Moore reiterated on Tuesday that MIFF continues to stand by its decision to program the film.

“As a festival we continue to aim to support a plurality of views and are disappointed that this action has been taken,” he said.”

Read the full article.

The Age in Australia reports:

Festival director Richard Moore said yesterday it was a major disruption and uncalled for.

“I am obviously upset because we have supported the work of these filmmakers in the past,” he said. “People get passionate about their films every year but this … I wasn’t expecting this amount of dissent from outside forces.”

Asked whether he believed Chinese filmmakers had been pressured to withdraw by the Chinese Government, Mr Moore, said it was extremely sensitive: “I can’t comment further.”

Read the full article.