Posts Tagged ‘little moth’

Discounted Tickets and Jia Zhangke in person for Asia Society series

Monday, March 1st, 2010

Our friends at the Asia Society are offering discounted tickets for their upcoming Film Series China’s Past, Present, and Future on Film,  March 6 – April 16, 2010. You can use discount code asia725 to buy tickets at the $7 member rate. This includes tickets to see Jia Zhangke in-person on March 6! It’s also a chance to see several dGenerate titles on the big screen: Betelnut, Fujian Blue, Gai Shanxi and Her Sisters, and Little Moth.

Full schedule and details.

Related posts

Peng Tao

Friday, January 8th, 2010

Peng Tao

Peng Tao

PENG TAO was born in Beijing in 1974. He received his bachelor’s degree from the Art Department of Beijing Film Academy in 2004.

He received the Outstanding Short Film Award at the Beijing Student Film Festival in winter 2002; his short film Story was shown at the 14th Festival Internacional De Arte Eletronica. His graduate project, a 35mm short film called Goodbye Childhood, won first prize at the 1st JINZI Awards established by Art Department of Beijing Film Academy, and it was screened at the Yokohama International Film Festival in 2004. He wrote and directed his first feature Little Moth (Xue Chan), completed in March 2007. In March 2008, he finished a short film Wait (produced by Jia Zhangke) as part of a longer collaborative feature with four other young directors. His second feature Floating In Memory (2009), developed with the assistance of the Sundance Institute Feature Film Program and produced with support from the Hubert Bals Fund, was screened in the VPRO Tiger Awards Competition at the 2009 International Film Festival Rotterdam.

FILMOGRAPHY

Floating in Memory
2009, 107 min, narrative

• 2009 Rotterdam International Film Festival

Wait
2008, short film

Little Moth
2007, 99min, narrative

• Hong Kong International Film Festival
• Locarno International Film Festival
• Bucharest International Film Festival
• Cairo International Film Festival
• Brisbane International Film Festival

Goodbye Childhood
2004, 35 min, narrative

• Yokohama International Film Festival

Story
2002, short film

• Festival Internacional De Arte Eletronica

Related posts

Canadian Premiere of The Other Half

Wednesday, November 4th, 2009

the_other_half-thumbOn Friday, November 6, the Gibsone Jessop Gallery in Toronto, Canada, launches a screening series of contemporary Chinese films in partnership with dGenerate Films. This five film series will begin with Ying Liang’s The Other Half, “a fierce and harrowing cry of political rage.” (The New Yorker)

This marks the first in a five-film screening series at Toronto’s Gibsone Jessop Gallery.  Gibsone Jessop not only showcases international contemporary art from around the globe, with a special focus on China, they also host nightly events such as film screenings, theater and music that deepen the understanding of the cultures and context their artists create within.  The next five Fridays will highlight different dGenerate films.  Subsequent screenings include San Yuan Li, Little Moth, Using, and Queer China, ‘Comrade’ China.

Visit Gibsone Jessop’s site for more information about the event.

Friday, November 6, 2009, 7:30pm
To reserve tickets, please email info@gibsonejessop.com
Tickets: $10 in advance, $12 at the door
Limited Seating.

Related posts

Shelly on Film: Pushing Beyond Indie Conventions

Monday, October 12th, 2009
by Shelly Kraicer
Betelnut  (dir. Yang Heng)

Betelnut (dir. Yang Heng)

Perhaps I’ve been spending just a bit too much time watching movies in China? I have this recurring daydream, most often when I’m watching a new Chinese film that some enterprising young director has sent me. I always watch every independent film that I receive. You never know what gems might appear unsolicited in the mail. And, even if the film isn’t so terrific, it will still be a useful index of all sorts of interesting trends: it might reveal what young filmmakers in China are filming, how they are looking at the world around them, or, at least, what they think people like me want to see.

The daydream, or perhaps it’s a fantasy, is this. There exists, down some dusty grey hutong alleyway of Beijing, a Chinese Indie Director’s Discount Emporium. You want to make a film? Step right in and assemble your movie at bargain prices. The shelving on the left is stocked with cast members: long-haired village boys, out of school, drifting aimlessly. At the back is a set of grainy, dusty, brown-grey village-scapes, ready to be populated by said drifters. To the right, useful equipment. Some tripods, but with a restriction: they must be set up at least 50 metres from the subjects being filmed. Right beside is a very long long shelf, holding 3 minute, 10 minute, even 20 minute-long takes, offered for a steal at family-sized package prices. Alternatively, you could go for deep discount on little DV cams, with the proviso that, held close to the subjects, they be shaken as vigorously as possible. The dialogue shelves in the centre are threadbare: screenplays for rent are all dialogue-light. And, off in a corner, is a shelf labelled “Prostitutes”. It’s over-loaded, with a three-for-the-price-of-one sale.

This may seem a bit mean. But the people I’m making fun of here, in fact, are international film programmers like me (I select Chinese language films for the Vancouver International Film Festival), not the filmmakers themselves. It seems that many of us (my colleagues from other film festivals, and wouldn’t exclude myself) sometimes seem to select films armed with a checklist of “East Asian art film attributes”, the things that populate the shelves of our hutong indie shop. Who can blame a young director from China, who, with little or no chance of gaining any return on his or her investment within his own country, tries to design a film to suit those foreigners who pay the bills, fund post production, and just might offer an overseas distribution deal?

(more…)

Related posts