Two interweaving stories of youth crime and family crisis shed light on illegal emigration and human trafficking in China’s Fujian province, in this award-winning debut feature.
In the southeastern coastal province of Fujian, Amerika and Roppongi (whose names refer to their absent fathers’ whereabouts) front “The Neon Knights,” a young band of delinquents caught up in fast living. They fuel their riotous routine by videotaping and blackmailing rich women engaged in trysts while their emigrant husbands are sending checks from overseas. Amerika’s ruthlessness is put to the test when he catches his own mother in an affair. Meanwhile, fellow gang member Dragon, who turns to crime to pay his family’s debt from smuggling his brother to Ireland, goes into hiding after stabbing a man. After an unexpected windfall, Dragon ponders whether to follow his brother out of the country or to help his family.
Robin Weng’s debut brings alive the world of Fujian, notoriously known as China’s centre for illegal emigration and human trafficking. Shot vividly on film with street-level realism, Fujian becomes a blistering microcosm for an entire generation of young Chinese lost in the global era. FUJIAN BLUE is “an unflinching depiction of the effect of globalization. Weng achieves a naturalism in detail that borders on investigative documentary” (Michael Guillen, The Evening Class). With “marvelous energy… Weng’s work captures this situation with remarkable clarity” (Gautaman Bhaskaran, The Hollywood Reporter).
ZHAO Dayong. China, 2008. Documentary, 169 minutes.
Mandarin, Nu and Lisu w/ English subtitles.
A miniature epic of the everyday” – A.O. Scott, The New York Times
“Compelling… You won’t be able to shut it off” – Jim Hoberman, Village Voice
A remote village in southwest China is haunted by traces of its cultural past while its residents piece together their existence.
Zhiziluo is a town barely clinging to life. Tucked away in a rugged corner of Yunnan Province, Lisu and Nu minority villagers squat in the abandoned halls of this remote former Community county seat. Divided into three parts, this epic documentary takes an intimate look at its varied cast of characters, bringing audiences face to face with people left behind by China’s new economy. A father-son duo of elderly preachers argue over the future of their village church. Two young lovers face a break-up over harsh financial realities. A twelve year-old boy, abandoned by his family, scavenges the hillside to feed himself.
“Directed with scrupulous attention to detail by Zhao Dayong” (Manohla Dargis, The New York Times), GHOST TOWN is “one of the most important films to have emerged from the booming (but still underexplored) field of Chinese independent documentaries” (Dennis Lim, Moving Image Source). GHOST TOWN “has a strong sense of historical consciousness, an eye for unique material, and a real sympathy for the people in the film and their tough lives” (Chris Berry, Goldsmiths University). “I do not expect to soon find scenes to match GHOST TOWN’s mountaintop funeral, the running along after a rowdy exorcism, or the scanning of faces at the town Christmas chorale. His back to prosperity, Dayong finds hallowed ground” (Nick Pinkerton, Village Voice).
“The most important Chinese film of the past several years—and one of the most astonishing recent films from any country” – Shelly Kraicer, Cinema-scope
“The most celebrated Chinese debut since Jia Zhang-ke’s Xiao Wu” – Mubarak Ali, The Lumiere Reader
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.
Boldly transforming documentary into fiction, Liu Jiayin cast her parents and herself as fictionalized versions of themselves. Her father, Liu Zaiping, sells leather bags but is slowly going bankrupt. He argues with his wife, Jia Huifen, and his daughter over methods to boost business in the shop. A cloud of anxiety follows them into sleepless nights shared in the same bed. But through the thousand daily travails of city life, a genuine and deeply moving picture of Chinese familial solidarity emerges from the screen.
With virtually no budget and boundless ingenuity, Liu Jiayin’s eye-opening debut, shot when she was 23 years old, consists of twenty-three static, one-scene shots within her family’s fifty square meter home. Liu keeps her small DV camera in claustrophobic closeness to her subjects, often showing only parts of their bodies as their voices dominate the soundtrack. OXHIDE takes the microscopic physical and emotional details of a family and magnifies them on a widescreen canvas. “Liu takes the film language of “realism” into an entirely new dimension.” (Tony Rayns, Vancouver International Film Festival).
“Suspenseful, moving yet ruthlessly unsentimental.” – Jason Anderson, Eye Weekly“
A nearly perfect little film.” – Shelly Kraicer, Vancouver International Film Festival
When an impoverished country couple adopts a crippled young girl and puts her to work begging on city streets, a battle soon ensues over her fate.
Luo Jiang and Guihua, a poor, middle-aged couple with few prospects, decide to buy an 11-year-old girl, Xiao Ezi (aka “Little Moth”), for $140 in rural China. Xiao Ezi’s life is in peril, as she is forced to earn money for her new parents as a beggar while suffering from a blood disease that leaves her unable to walk. Her greedy adoptive father, Luo Jiang, refuses to buy her medicine, while Guihua’s growing maternal affection wracks her with guilt. After a run-in with local extortionists, the three flee into the territory of the unsavory Mr. Yang, whose one-armed boy Xiao Chun is also forced to beg. Inevitably the grownups take turns taking advantage of each other, giving the children a rare opportunity to develop a protective bond with one another.
With virtually no budget, a hand-held digital camera and a cast of non-professionals, Peng Tao turns the sordid street life of small town China into a chain-reaction tale of human cruelty and unforgettable suspense. LITTLE MOTH “melds the anger and storytelling scope of Dickens, the doc-influenced immediacy and sensitive gaze of the Dardenne brothers, and the best tendencies of recent Chinese cinema.” (Robert Koehler, Variety).
Six documentary shorts chronicle the changing state of China’s independent, and underground, film scene.
Join dGenerate Films on a month-long trip to post-Olympics China. We traveled from Shanghai to Nanjing to Beijing, and kept the cameras rolling. The result is unprecedented access into China’s other film community, where writing, filming, and distribution don’t always wait for government approval.
The series starts at the largest underground film festival in China, explores the spirit of independence in Beijing, tours art-film compounds, and discusses the future of Chinese cinema. Along the way, the series features the most important filmmakers, critics, producers, curators, and underground scenesters making films, their way, in China today.
Top 10 Films of 2008: “A fierce and harrowing cry of political rage.” – The New Yorker
“Subtly subversive” – The New York Times
“One hell of a beautiful film… Endlessly haunting… with serene, even joyous consciousness that is the opposite of despair.” –Variety
Xiaofen (Zeng Xiaofei) spends all day listening to everything that’s wrong with China, opening her eyes to the chaos that threatens her own life.
Working as a secretary for a legal office, Xiaofen records clients detailing the sordid aspects of their lives: divorce cases, medical malpractice suits, financial corruption and old-fashioned personal revenge. Xiaofen starts to question her own relationship with her boyfriend (Deng Gang), fresh out of prison and looking to get into trouble again with his gambling habit. While Xiaofen deals with the overwhelming social malaise surrounding her, rumors spread of a disaster at the local chemical plant, threatening to poison the entire city.
Indie director Ying Liang follows up his celebrated debut Taking Father Home with a brutally frank portrait of the social and environmental problems plaguing contemporary China. “A vivid angle into ordinary life in China” (David Bordwell, Film Art: An Introduction), Ying Liang’s filmmaking examines multiple facets of society with a deceptively direct filmmaking style “that has few parallels in modern cinema.” (Richard Brody, The New Yorker)
dGenerate Films is the leading distributor of contemporary independent film from mainland China to audiences worldwide. We are dedicated to procuring and promoting visionary content, fueled by transformative social change and digital innovation.
