Posts Tagged ‘oxhide 2’

Oxhide II and Disorder Featured in Los Angeles New Chinese Cinema Showcase, Starts April 6

Friday, March 25th, 2011

Thomas Mao (dir. Zhu Wen)

From the official press release:

“From Wednesday, April 6 to Saturday, April 9, REDCAT will present “Between Disorder and Unexpected Pleasures: Tales from the New Chinese Cinema.” In recent years, independent Chinese cinema has experienced a virtual explosion. Digital media have allowed filmmakers to be bolder, more daring and to explore hybrid forms of documentary and fiction, or mix found and live footage while playing with novel formal strategies. Independent Chinese cinema has also come of age. Reaching beyond nostalgia and social protest, it plumbs surprising corners of Chinese reality with humor that is at times light, dark, saucy, dry, raunchy or conceptual. Expect the unexpected.”

REDCAT is located at 631 West 2nd St., Los Angeles, CA 90012 – in downtown Los Angeles at the corner of 2nd and Hope Streets, inside the Walt Disney Concert Hall complex. Parking is available in the Walt Disney Concert Hall parking structure and in adjacent lots.

Tickets are $9 for the general public, $7 for students with valid ID. Tickets may be purchased by calling 213.237.2800, at, or in person at the REDCAT Box Office on the corner of 2nd and Hope Streets (30 minutes free parking with validation). Box Office Hours: Tue-Sat | noon–6 pm and two hours prior to curtain.

Note: The series features two of dGenerate’s films: Disorder by Huang Weikai and Oxhide II by Liu Jiayin. Liu Jiayin will present Oxhide II in person.

More details on each film in the series after the break.


CinemaTalk: Conversation with Liu Jiayin, director of Oxhide and Oxhide II

Tuesday, February 1st, 2011

This entry is part of a weeklong spotlight of newly available titles in the dGenerate Films catalog.

Director Liu Jiayin was interviewed at the Apple Store Sanlitun Beijing, as part of the “Meet the Filmmakers” series, co-presented by the Apple Store in Beijing and dGenerate Films, a series to showcase China’s newest filmmakers powered by digital technology.

Liu Jiayin was born in Beijing in 1981. At age 23, she made her debut feature Oxhide while a Master’s student the Beijing Film Academy. Oxhide has won several prizes (including the FIPRESCI award at Berlin Film Festival, Golden DV Award at Hong Kong International Film Festival, and Dragons and Tigers Award at Vancouver Film Festival) and has been called “the most important Chinese film of the past several years–and one of the most astonishing recent films from any country” (film critic Shelly Kraicer). Her follow-up Oxhide II (2009) was similarly lauded, and won awards at CinDi Seoul and was featured in the Directors’ Fortnight at Cannes. She is currently a professor of screen writing at the Beijing Film Academy, and is developing the final part of her trilogy, Oxhide III.

The video of Liu’s interview is in three parts, with an English transcript following each video. Video of Part One is below. Click through to view both videos and the full transcript. Interview conducted by Yuqian Yan. Videography by Kevin Lee. English transcription and subtitles by Isabella Tianzi Cai.

Note: English subtitles for each video can be accessed by clicking on the CC button in the pop-up menu on the bottom right corner of the player. The subtitles can be repositioned anywhere on the screen by clicking on them (if they are not displaying properly, click them to adjust).

Part I.



Monday, December 6th, 2010

Xu Tong accepts the NETPAC award at the Chongqing Independent Film and Video Festival

By Isabella Tianzi Cai

At the 4th Chongqing Independent Film and Video Festival this year, Xu Tong’s Fortune Teller won the NETPAC Award for the Best Feature-length Film. Ten films were nominated for this category; they included Liu Jiayin’s Oxhide 2 (distributed by dGenerate Films) and Qiu Jiongjiong’s Madame.

The 2010 CIFVF was presented in partnership with Network for the Promotion of Asian Cinema (NETPAC), a regional organization formed in 1990 for the recognition and development of Asian films. Over the past two decades, NETPAC has made many valuable contributions to Asian cinema. The institution of the NETPAC Award, for instance, is one of them. As of the present, the NETPAC Award is offered at 28 film festivals in 21 countries. It is stated on their website that “as more Asian films were selected for exhibition for world audiences, a yardstick for quality . . . that matched the competitive spirit fueling the creative urges of young Asian filmmakers” was necessary.

Roughly 130 people came for the screening of Fortune Teller in the 2010 CIFVF and attended the Q&A session with Xu Tong afterwards. CIFVF organizer Ying Liang, whose features Taking Father Home and The Other Half are distributed by dGenerate, was the moderator for the event. (Report in Chinese at Liang You)

Berenice Reynaud Reviews Four New Chinese Films

Thursday, June 10th, 2010

Queer China, 'Comrade China' (dir. Cui Zi'en)

The newest issue of the online film journal Senses of Cinema features lengthy reviews by film scholar and Cal Arts professor Berenice Reynaud on new films from Mainland China. Titled “Men Won’t Cry – Traces of a Repressive Past,” Reynaud covers a dozen international titles that screened at last fall’s Vancouver International Film Festival, giving special attention to four new films from the Mainland, as well as the Hong Kong feature Night and Fog by Ann Hui. Her analysis is particularly astute at discerning issues of identity, gender, power and nationhood in the formal approaches taken by each film. The following are some choice excerpts, though readers are advised to read Reynaud’s appreciations in full:


Oxhide Now Available! Plus a profile of director Liu Jiayin

Tuesday, March 30th, 2010

Liu Jiayin

In our one-of-a-kind poll of the Best Chinese Films of the 2000s, Oxhide, director Liu Jiayin’s quiet, homemade do-it-yourself masterpiece, shocked many by placing in the top ten. We are pleased to announce that Oxhide is now available for institutional DVD sales and exhibition rental. If you haven’t seen the film, you owe it to yourself to get your hands on it.

At The Beijinger, Liu Jiayin, director of Oxhide and Oxhide II, talks to Dan Edwards:

Oxhide was based on my family’s real experiences – we reenacted real-life events,” recalls Liu. “The film was born from a desire to preserve those memories.”

When asked if it was difficult persuading her parents to put their lives on public display, Liu laughs. “In other families this may have been a problem, but my parents are very avant-garde in their thinking and were very supportive. My parents and I know each other very well.”

Read the full article.

Reviews from Rotterdam: Oxhide II and Sun Spots

Tuesday, February 9th, 2010

Oxhide II (dir. Liu Jiayin)

The International Film Festival Rotterdam concluded this past weekend; this year’s edition was of special interest to us, what with eighteen films by Chinese directors or with a Chinese theme. Two indie films in particular drew critical attention, much of which is summarized below.


Interview with Oxhide director Liu Jiayin

Thursday, January 28th, 2010

Peter Rist, who recently contributed a thoroughly considered ballot for our Chinese Films of the Decade Poll, has published an interview he conducted with Liu Jiayin, the director of Oxhide and Oxhide II. The interview was conducted for Offscreen Magazine at last year’s Vancouver International Film Festival, where Oxhide II was presented. Oxhide II is currently screening at the Rotterdam International Film Festival.

Here are some choice excerpts from the interview. The full interview can be found at Offscreen.

Offscreen: My first question is about style. And, I wonder if you could explain a little bit of why you use the cinemascope frame, because I was very surprised when I saw your first feature film, that for such an intimate setting, and shooting on (not the highest definition) digital, you would use the widest scope frame available.

LJ: Firstly, it is personal. I like the aesthetics of the 2.35:1 aspect ratio, and it also makes the film look more “serious.” I knew that, normally, the cinemascope format is used as a more “epic” style, and for more “spectacular” scenes, or for exterior scenes. I know that my film was really intimate, but I still chose to use this ratio. That’s the first point. Secondly: size and distance are relative, so, even if you are shooting something very close, or if something you are shooting is very small, if you are using a cinemascope lens then that will give you a different perspective, and it will make it look larger.