Writer / curator Shelly Kraicer interviews director and artist Qiu Jiongjiong for Cinema Scope Magazine. About Jiongjiong's newest work A...

English translation by John Pao-chuan Wang Ding Ningyuan: This film is based on your grandfather's life experience, what motivated you to...

Opening at Film at Lincoln Center, BAMPFA and Laemmle Theaters on March 5.

Virtual Release of Jill Li’s Award-Winning Documentary LOST COURSE March 5th at Film at Lincoln Center, Laemmle Theatres, and BAMPFA

In conversation three of her third anthology, Pamela Cohn speaks with creative producer and distributor Karin Chien.

Long gone are the days when Chinese film directors could shoot their films and win awards abroad without complications back home.

After viewing the interview footage, of these four factory women in a dormitory space, we immediately knew that’s the film we want.

ZHU Rikun is a name that should be familiar to anyone paying attention to Chinese independents.

The work of Hu Jie is little known even in China. The release of “Spark” and “The Observer” should make him better known abroad.

Many Chinese documentary-makers have spent the last decade exploring the human cost of destruction.

Yi Cui’s “Through the Looking Glass” is a powerful short that reflects the agency of indigenous filmmakers.

Certainly, it's impossible to watch a film of Wang’s and be left indifferent; each leaves a great impression.

What’s audacious about Yang’s movie is her clear-eyed acceptance of the chaos of relationships. There will be no easy resolution.

Liu commits to a narrative refraction of an only child in a family of bag makers with a non-fictional rigor that eschews objective context.

Regardless of location, tradition or political particularities, artists’ lives the world over carry as many similarities as not.

The winner of the Rotterdam Film Festival’s prestigious Tiger Award in 2018 subtly turns the genre’s conventions on their head.

Pema Tseden’s entire body of work [creates] a hyper-real interconnected universe of stories and characters representing modern Tibet.

The lack of freedom isn’t the point. If so, what more is there to say as an independent artist in China?

American and Chinese audiences face a similar challenge: in a landscape controlled by government-mandated censorship and corporate-driven co

A terrific, madly varied list that includes propaganda blockbusters and wildly indie films like dGenerate Films title "Girls Always Happy."