Posts Tagged ‘oxhide’

Global Times: Liu Jiayin Working on Oxhide III

Wednesday, August 4th, 2010

Liu Jiayin, director of Oxhide, Oxhide II and the forthcoming Oxhide III (photo courtesy of Liu Jiayin)

In anticipation of Oxhide and Oxhide II director Liu Jiayin’s presentation at the Beijing Apple Store this Thursday, Hao Ying of the Global Times (English edition) profiled the director. Here’s an excerpt:

Meeting director Liu Jiayin, it’s hard to forget scenes from her autobiographic film Oxhide in which her father tries to bully her into growing taller by forcing her to drink milk, and also urges her to hang from a pull-up bar. Her mother, also concerned she isn’t flowering into a curvy woman, urges Liu to dress more daintily, like a Japanese girl.

Her parents’ tactics didn’t work. During a recent interview with the Global Times at a coffee shop, the waitress asked the tomboyish, short director, “Mister, would you like some sugar?” Other people might be distressed by having the world know their most intimate stories, but this doesn’t seem to phase Liu, who is currently finishing the story for Oxhide III, the planned third part of her extraordinary series of fictionalized films about the intimate details of her own family.

Liu is giving a presentation on digital filmmaking at the Apple Store in Sanlitun Village on Thursday at 7 pm. She used Final Cut to edit Oxhide II on a friend’s computer, and currently uses a Macbook Pro. She advises also beginning filmmakers to borrow or rent a camera instead of buying one, because the technology is changing so fast.

Read the rest of the article – in which she gives some details on Oxhide III, and how to solve the filmmaker’s equivalent of “conquering AIDS and cancer” – at the Global Times.

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MEET THE FILMMAKERS: Liu Jiayin at Apple Store Beijing this Thursday

Monday, August 2nd, 2010

Liu Jiayin

dGenerate Films and the Apple Store in Beijing continue their ongoing series showcasing China’s newest filmmakers powered by digital technology. This Thursday, August 5, acclaimed digital filmmaker Liu Jiayin will show clips from her films and discuss her creative process.

Liu Jiayin’s talk is part of the series “Meet the Filmmakers,” a collaboration between the Apple Store in Beijing and dGenerate Films. Digital tools, from digital video cameras to editing software, have placed filmmaking in the hands of the people. This series introduces award-winning directors discuss with the general public how they use digital technology to create their latest movies, attracting worldwide attention and acclaim.

Read news coverage of the inaugural “Meet the Filmmakers” events, and watch video from previous Apple Store talks with filmmakers Cui Zi’en, Jian Yi and Peng Tao.

All events will be held at the Apple Store in Sanlitun, Beijing, starting at 7pm.

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.

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RealTime Reviews Films by dGenerate Directors at HKIFF

Wednesday, June 30th, 2010

The High Life (dir. Zhao Dayong)

by Isabella Tianzi Cai

RealTime Arts, Australia’s critical guide to contemporary international arts, recently reviewed several films from the 34th Hong Kong International Film Festival – several by directors with films distributed by dGenerate.

In the Asian Digital Competition section of HKIFF, the awards went to Zhao Dayong’s The High Life and Yang Heng’s Sun Spots. RealTime’s Mike Walsh comments on the former, “Characters enter and then leave the narrative, frustrating our attempt to approach contemporary China in exclusively personal terms. It is worth comparing this to the structure of Zhao’s previous documentary Ghost Town which is divided into three parts, each focusing on a different character.” dGenerate Films distributes Ghost Town as well as Zhao’s debut feature Street Life (coming soon), and Yang Heng’s Betelnut.

In the same article, Walsh also highly commends Liu Jiayin’s mesmerizing documentary Oxhide II, the sequel to Oxhide (distributed by dGenerate). He writes,

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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.

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Oxhide and Oxhide II screening in Beijing

Tuesday, February 23rd, 2010

WHEN:
Feb 24th and 25th, 7pm

WHERE:
UCCA (Ullens Center for Contemporary Art)

Don’t miss this showcase of Liu Jiayin’s Oxhide I and Oxhide II. The first film won the Fipresci Prize at the 55th Berlin International Film Festival, and the sequel debuted at Cannes in 2009. In Chinese with English subtitles. The showcase will also run on Feb. 27 and Feb. 28.

Venue and further details at Beijing City Weekend

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Shanghai City Weekend reviews Oxhide

Wednesday, February 17th, 2010

In Shanghai City Weekend, Laura Fitch reviews Oxhide by Liu Jiayin:

In Oxhide, director Liu Jiayin stretches time so effectively that you can feel the weight of years on the shoulders of a leather handbag maker, his wife and their teenage daughter Beibei, played by the director and her parents.

Read the rest of the review at Shanghai City Weekend.

Find out more about Oxhide.

Read reviews of Liu Jiayin’s latest film, Oxhide II, which recently screened at International Film Festival Rotterdam.

Peter Rist interviews Liu Jiayin for Offscreen.

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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.

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Best Chinese-Language Films of the 2000s: Poll Results

Wednesday, January 13th, 2010

<i>In the Mood for Love</i> (dir. Wong Kar-wai)

In the Mood for Love (dir. Wong Kar-wai)

In the Mood for Love by Hong Kong director Wong Kar-wai topped the results of an international poll of the best Chinese-language films of the past decade, conducted by dGenerate Films. The poll included ballots from forty-seven filmmakers, critics, programmers and scholars from around the world. A total of 152 Chinese-language films were cited.

In the Mood for Love outpaced a field dominated by mainland Chinese titles, led by Wang Bing’s seven-hour documentary West of the Tracks and Jia Zhangke’s historical epic Platform. The two mainland titles are both independent productions made outside the official Chinese state system and have never officially screened in China. Yi Yi, by the late Taiwanese master Edward Yang finished fourth.

The top four titles were each mentioned in at least half of the forty-six ballots submitted by participants. Rounding out the top ten were Jia Zhangke’s Still Life at #5,  Jiang Wen’s Devils on the Doorstep at #6, Liu Jiayin’s OxhideLou Ye’s Summer Palace, and Jia Zhangke’s The World tied at #7, and Li Yang’s Blind Shaft and Ang Lee’s transnational blockbuster Crouching Tiger Hidden Dragon tied at #9.

Jia Zhangke dominated among directors with seven films mentioned in the poll, three of which finished in the top ten. His films received nearly twice as many mentions as those of the second most-mentioned director, Wong Kar-wai. Works by Taiwanese director Tsai Ming-liang and Chinese director Lou Ye (who is officially banned from making films in China) also featured prominently in the results.

The results suggest a changing of the guard among mainland Chinese filmmakers over the past decade. The highest placing title by a Fifth Generation director was Zhang Yimou’s Hero at #22. The eight mainland productions placing in the top eleven are from Sixth Generation directors such as Jia Zhangke or Lou Ye, or the post-Generational wave of digital filmmakers such as Wang Bing and Liu Jiayin.  And yet, among these mainland films, only The World was approved by the state censors and released theatrically in mainland China.

Three of the top four films – In the Mood for Love, Yi Yi and Platform – have also placed prominently in polls conducted for all cinema of the past decade. The three films placed in the top ten of the Best of Decade Critics’ Poll run by IndieWire and in the top 11 of the poll run by Film Comment. But aside from Jia Zhangke’s films, the remaining titles on the list have fared poorly in these polls (West of the Tracks, #2 in this poll, places at #49 in IndieWire and #85 in Film Comment).

Oxhide, distributed non-theatrically in the U.S. by dGenerate Films, is the top ranking title by a female director. In addition to Oxhide, nine other dGenerate Films titles received mentions in the poll: Before the Flood (Li Yifan and Yan Yu); Betelnut (dir. Yang Heng); Crime and Punishment (Zhao Liang); Ghost Town (Zhao Dayong); Little Moth (Peng Tao); The Other Half (Ying Liang); Taking Father Home (Ying Liang); Timber Gang aka Last Lumberjacks (Yu Guangyi) and Using (Zhou Hao).

The full list of films, as well as top-ranking Chinese-language directors, can be found after the break. A full list of ballots from all participants will be posted tomorrow.

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Best Chinese-Language Films of the 2000s: One Voter’s Thoughtful Ballot

Tuesday, January 12th, 2010
Betelnut

Betelnut (dir. Yang Heng)

In conducting the one-of-a-kind poll of the Best Chinese-Language Films of the 2000s, we received ballots from nearly 50 participants from around the world, including filmmakers, programmers, critics and other experts. One of our participants, Peter Rist, who teaches at the School of Cinema in Concordia University, sent a particularly lengthy account of his rationale for his selections, which we felt deserve an entry of their own. We’re also pleased that he considered both Betelnut by Yang Heng and Oxhide II by Liu Jiayin worthy of his final ten, since dGenerate distributes both Betelnut and the first Oxhide film and consider Yang Heng and Liu Jiayin among the most exceptional young talents working anywhere today.

Here is Peter’s list – his commentary follows after the break, as well as a list of his best films of the decade from around the world.

Stay tuned tomorrow for the full results of the poll, compiled from all of our participants!

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Zhantai (Platform), Jia Zhangke (P.R. China/Hong Kong/France/Japan)
Suzhou he (Suzhou River), Lou Ye (China/Germany)
Fa yeung nin wa (In the Mood for Love), Wong Kar-wai (Hong Kong/France)
Tie Xi Qu: West of the Tracks, Wang Bing (China), documentary, digital
Cha ma gu dao xi lie (Delamu), Tian Zhuangzhuang (China/Japan), digital, doc.
McDull, Prince de la Bun, Toe Yuen (Hong Kong), animation
Zui hao de shi guang (Three Times), Hou Hsiao-hsien (Taiwan/France)
Hei yan quan (I Don’t Want to Sleep Alone), Tsai Ming-liang
(Malaysia/China/Taiwan/France/Austria)
Binglang (Betelnut), Yang Heng (China), digital
Niu pi er (Oxhide II), Liu Jiayin (China), digital

(more…)

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Shelly’s Top Ten Mainland Chinese films of the 2000s

Monday, January 11th, 2010

Oxhide II (dir. Liu Jiayin)

Oxhide 2 (dir. Liu Jiayin)

On Wednesday, dGenerate Films will publish the results of its poll of Chinese filmmakers and experts on the top Chinese language films of the past decade. While the poll includes all Chinese language films, we’d like to take a moment to focus on films from Mainland China. Here are Shelly Kraicer’s top ten Mainland Chinese films of the 2000s, with some observations on key developments in the field over the past ten years. Shelly will give a slightly different list that includes all Chinese-language cinema for the official poll.

—–

The editors of the dGenerate Films blog have asked me to come up with a list of the ten best Chinese films of the decade (2000-2009). I’ve thought about this for several days, and would prefer to call these the ten films from China that I consider to be the most important from the last ten years. This shifts the emphasis from “best”, from some difficult-do-objectify criterion of excellence to one of significance. Equally non-objective, to be sure, but I feel more comfortable with significance as a subjective criterion. This is for several reasons: one in particular is that “best” seems at least to imply a criterion of professional polish, of mastery, that I would not want to over-value while surveying recent Chinese film.

In fact, the key trend, if I can call it that, of the last decade of Chinese filmmaking seems to be precisely its de-professionalization. Filmmaking has moved beyond the academy, the Beijing Film Academy to be exact, responsible for so many filmmakers superbly trained in their crafts, and towards something much more broadly based and open, dominated by amateur digital filmmaking. These young, often self-trained filmmakers aren’t necessarily making the most well-crafted films out there, but their experiments are often among the most important things happening in cinema in this part of the world.

Rather than ranking films (which is sort of silly: what makes #6 better than #7?), I’d like to group my choices into three larger sets, as follows:

(more…)

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