Posts Tagged ‘single man’

Berenice Reynaud Spotlights Six Chinese Films at Vancouver

Monday, December 27th, 2010

Thomas Mao (dir. Zhu Wen)

Judging by the extensive coverage of Chinese films at the Vancouver International Film Festival, one can conclude that it is one of the key venues to see the best of Chinese cinema outside of China. We’ve already pointed to reports by VIFF Dragons and Tigers programmer Shelly Kraicer, Film Comment’s Robert Koehler and MUBI’s Daniel Kasman. In the latest issue of Senses of Cinema, Berenice Reynaud offers an in-depth take on half a dozen Chinese-language titles, among many other films reviewed from the festival. Some excerpts:

On Li Hongqi’s Winter Vacation: “Li alternates wordless, rigorously composed scenes with instances of sparse dialogue, a Beckett-like hollowing of everyday platitudes.”

On Zhu Wen’s Thomas Mao: “Another scintillating example of neo-Chinese wit.”

On Jia Zhangke’s I Wish I Knew: “Old Shanghai is disappearing in the wake of unprecedented urban destruction (a lot of it caused by the World Expo itself); I Wish I Knew captures it as a dream, a memory, a flow of cinematic images that are as fluid and immaterial as the two rivers that run through it.”

On Hao Jie’s Single Man: “Visceral, off-colour, generous to a fault, Hao Jie’s Guanggun (Single Man) is one of the most exciting filmmaking debuts in years.”

On Zhao Dayong’s The High Life: “Zhao plays with our narrative expectations, blurring the lines between fiction and self-representation.”

On Xu Tong’s Fortune Teller: “Following Li and Little Pearl on the back alleys and dusty roads of rural China, Xu – whose first film, Mai shou (Wheat Harvest, 2008) was the controversial portrait of a lower class prostitute leading a double life – casts an unsentimental gaze at these humble lives that the “new and harmonious society” would like to keep under the rug.”

Reynaud concludes of the latter three films:

During the Mao years, conformity was the norm. Now the powers-that-be want to transform the citizens into quiet, obedient consumers. Films such as Single Man, High Life or Fortune Teller outline the gap between these grand plans and the way people live, point out the heightened contradictions of modernisation. Whether they resort to fictionalisation or experimental techniques, they manage to capture something of this reality that Lacan perceived as left over between the symbolic (the laws) and the imaginary (the utopias of socialism or free market).

Read Reynaud’s complete festival report at Senses of Cinema.

Shelly on Film: Deeper Into Dragons and Tigers

Tuesday, October 19th, 2010

By Shelly Kraicer

Rumination (dir. Xu Ruotao)

The 2010 Vancouver International Film Festival (September 30 to October 15) has just concluded. This was my fourth year programming Chinese language films for VIFF’s Dragons and Tigers section for East Asian cinema; this year’s edition featured 43 features and 21 shorts, co-curated by Tony Rayns and myself. I selected 19 features and three shorts: 12 from China, 4 from Hong Kong, 3 from Taiwan, 2 from Malaysia, and one from Singapore. Details of the films from the People’s Republic of China, including comments derived from my catalogue notes for VIFF, can be found below.

Within the D&T section, the Dragons and Tigers Award for Young Cinema, programmed by Tony Rayns, featured 8 films by young, as yet “undiscovered” directors. The jury, comprised of Jia Zhangke, Bong Joon-ho, and Denis Côté, awarded its prize to the Japanese film Good Morning World!, directed by Hirohara Satoru. Two special mentions were awarded: one to the Chinese film Rumination (Fanchu), by Xu Ruotao, and one to Phan Dang Di’s Vietnamese film Don’t Be Afraid B!

As usual, I chose more films from China than from any other territory. I try each year to balance at least two goals in my programming: I want to give VIFF audiences a sense of the increasing variety of Chinese language filmmaking, both in the independent sector, and in commercial genres. At the same time, it has always been VIFF’s policy and my own personal preference to highlight the work of independent young filmmakers working outside of the system of official censorship and distribution (independent tizhiwai films). Indie documentary filmmaking continues to be particularly strong in China, and I could only choose a few examples: it would have been easy to devote the bulk of my 9 feature length film slots to Chinese independent films this year.

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