“Liberating… ENTER THE CLOWNS conveys a sense of cinema at the vanguard.” – Scott Foundas, Variety
“Cui Zi’en inaugurates a new queer Chinese cinema.” – Tony Rayns, Time Out
Straight, gay and in-between Beijingers unleash a whirlwind of transsexual mayhem in this groundbreaking, gender-bending debut by China’s preeminent queer filmmaker.
Xiao Bo (Yu Bo) lives in a world where the lines defining men from women are constantly dissolving. He kneels at the deathbed of his father (Cui Zi’en) who has become a woman, and whose dying wish is to have oral sex with his/her son. His boyfriend “Nana” has also undergone a sex change, but Xiao Bo no longer finds her attractive as a woman. A sexual chain reaction ensues that wreaks havoc on traditional Chinese roles that govern male and female, parent and child.
Filmmaker, novelist and queer activist Cui Zi’en caused an international sensation with his shockingly transgressive debut. Inspired by the likes of Andy Warhol and Rainer Werner Fassbinder, but set within a specifically Chinese context, ENTER THE CLOWNS is “a movie that says everything you know about sexual identity and gender orientation is wrong” (Tony Rayns, Time Out). “Cui may be unique as China’s first gay filmmaker, but it is… in the international pantheon of queer filmmakers that we must ultimately locate him” (Chris Berry, positions: east asia cultures critique).
JIAN Yi. China, 2007. Documentary, 73 min. Mandarin w/ English subtitles.
“As entertaining as it is revelatory” – Ronnie Scheib, Variety
SUPER, GIRLS! follows ten female teenagers on their quest to become instant superstars on China’s biggest television show.
The Chinese equivalent of “American Idol,” the “Super Girls Singing Contest” spawned an unprecedented pop culture phenomenon. Drawing over 400 million viewers, the show’s runaway popularity spurred the Chinese government to ban it after only two seasons.
The film provides unparalleled, intimate access into the contestants’ lives over several months. Through candid interviews and footage of nail-biting auditions and competitions, SUPER, GIRLS! offers a fascinating look inside what the Chinese media have dubbed “the Lost Generation” and their startling takes on sexuality and success in the new China.
Cui Zi’en. China, 2008. Documentary, 60 minutes. Mandarin w/ English subtitles.
China’s most prolific homosexual filmmaker presents a comprehensive historical account of the queer movement in modern China. QUEER CHINA, ‘COMRADE’ CHINA documents the changes and developments in Lesbian/Gay/Bisexual/Transgender culture that have taken place in China over the last 80 years. Unlike any before, this film explores the historical milestones and ongoing advocacy efforts of the Chinese LGBT community. The film examines how shifting attitudes in law, media and education have transformed queer culture from being an unspeakable taboo to an accepted social identity. The film culminates with the submission of Dr. Li Yinhe’s Same-sex Marriage Bill to the Legislative Affairs Commission of the National People’s Congress in 2003, a major landmark event in the ongoing struggle for acceptance of queer identity in China.
Directed by Cui Zi’en, China’s leading queer theorist, activist and scholar, the documentary includes rarely seen footage of the first ever appearance of gays and lesbians on State television, including Cui Zi’en himself. The film features exclusive interviews with over three dozen leading queer activists, scholars and filmmakers, including Shi Tou, Li Yinhe and Zhang Yuan. The opening night film of 2009’s ShanghaiPRIDE, China’s first ever LGBT pride festival, QUEER CHINA, ‘COMRADE’ CHINA is nothing less than the most authoritative account of queer cultural history in China to date.
• Official Selection, Pusan International Film Festival
• Official Selection, Vancouver International Film Festival
• Best Documentary, 24th Turino GLBT Film Festival
• Best Documentary, Lisbon Gay and Lesbian Film Festival
• Opening Night Film, Shanghai PRIDE
• Official Selection, Beijing Queer Film Festival
• Official Selection, Pink Screens Film Festival, Brussels
• Official Selection, Calgary GlobalFest FilmFest
• Official Selection, Kosmorama Trondheim Film Festival
• Official Selection, CinemAsia Film Festival
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**This title is available in all territories except China
BAN Zhongyi. China, 2007. Documentary, 80 minutes.
Mandarin, Japanese, Shanxi dialect w/ English subtitles.
GAI SHANXI AND HER SISTERS tells the story of one woman’s brutal ordeal as a “comfort woman“ for the Japanese Army during World War II. Hou Dong-E, known as “Gai Shanxi,” the fairest woman in China’s Shanxi province, was one of the many women abducted from their villages to be sexually enslaved by Japanese soldiers stationed nearby. Fifty years later, she joined other women throughout Asia to seek justice and reparations, but she died before her demands were answered.
Chinese filmmaker Ban Zhongyi unearths Gai Shanxi’s tragic life through the stories of the surviving women in the region. Ban also collects revelatory testimonies from former Japanese soldiers stationed in Shanxi during the war, breaking a decades-long silence over a dark chapter of China’s history. Following one woman’s heroic journey, GAI SHANXI AND HER SISTERS tells a universal story of female solidarity and survival.
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)
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