By Shelly Kraicer Chinese director, critic, novelist, and student of Taoist martial arts Xu Haofeng has made at least six beautifully crafted action films (five released, at least one in Chinese censorship limbo) since his wuxia debut The Sword Identity in 2011. 100 Yards, co-directed with his brother Xu Junfeng, is set in the Republican…

The brightest light in the Chinese independent cinema world at this moment is Beijing-based filmmaker and artist Qiu Jiongjiong. In an atmosphere in China of increasing surveillance and control of non-official, unauthorized artistic activity in China, Qiu, now 44, stands out as an artist with a powerful, complex, engaging vision who has found a way to continue to work without compromise. His new film, A New Old Play, premiered at the 2021 Locarno Film Festival and is now having a series of screenings in North America, after following its pickup by Icarus Films via their dGenerate Films Collection

By Shelly Kraicer Published in Cinema Scope #87 (Summer 2021) Zhang Yimou has released 22 features to date, in addition to a couple of shorts, two more features shot and ready to go (censors permitting), his grandiose made-for-TV pageants for the Beijing Olympics, opera stagings like Turandot at the Forbidden City, and, if we’re being…

By Shelly Kraicer Increasingly strict censorship limits the kind of films Chinese directors can make and still get approved for either domestic screenings or export. But film noir remains a viable option for filmmakers to play with violence and ambiguity, within limits. Are You Lonesome Tonight? is first-time director Wen Shipei’s entry into a tough…

By Shelly Kraicer Many recent films take COVID-era quarantining as a premise to examine lonely humans and their difficulties connecting, but Chung Mong-hong’s The Falls does something quite special. This story of a cloistered family allows the Taiwanese director—who has heretofore specialized in blackly comic portraits of men under intense stress—to open up his world…

By Shelly Kraicer Starting from a seemingly unmotivated samurai-style sword attack in present-day Taipei’s main train station, Terrorizers circles back and around again and again through a complex network of characters—a student, an aspiring actress, a cosplayer, a masseuse—spawning threads and mysteries that it eventually knits back together into a disturbing portrait of today’s Taiwanese…

One usually looks to art galleries and film festivals for a sense of what’s on the avant-garde edge of sound-and-image art. For these pandemic-laden months, with galleries and cinemas shuttered, something extraordinary is happening in the most tradition-bound art, Western classical music—or Western art music, as I prefer to call it. It’s not just Levit, though he stands at the head of an astonishingly vital set of online streaming sessions. Events like Bang on a Can Marathon, Music Never Sleeps, and performers as disparate as the Berlin Philharmonic, veteran pianist Angela Hewitt, and young pianist Tiffany Poon are inventing pathways to experience, communally and distanced. All from an art form that has been declared dead long before the “death of cinema” became a thing.

By Shelly Kraicer Ho Wi Ding’s fifth feature film is his most ambitious and most interesting. After a couple of beautifully shot conceptual narrative shorts (Respire [2005]; Summer Afternoon [2008]), Ho made several commercial movies (including the sharp cross-cultural comedy Pinoy Sunday [2010]) before Cities of Last Things, which resumes his narrative experiments. The story…

By Shelly Kraicer How do you make what is missing disappear (again) and reappear? This question might sound abstract, but its concrete instantiation, after the bloody Lebanese civil war of 1975-1990, obsesses artist, animator, and first-time feature filmmaker Ghassan Halwani. His experimental essay-documentary Erased is the product of his research into the traces that remain,…

By Shelly Kraicer  How can a filmmaker like Feng Xiaogang exist in China? His films somehow manage to be both widely popular and ideologically unconventional. For many years—until the onset of the current “wild east” phenomenon, in which a stream of record-breaking blockbusters seems regularly to be emerging from China’s hyped-up movie-production machine—Feng has consistently…

By Shelly Kraicer The violent convulsions in the Middle East and Africa and grotesque asymmetries of wealth and poverty between north and south have put fundamental pressures on wealthier, conservative, defensive societies of Europe and North America. Refugees are everyone’s problem; they represent the fulcrum around which debates on the shape of our evolving societies…

By Shelly Kraicer The protagonist of Kaili Blues, Chen Sheng, is a small-town medical practitioner and ex-con. He bought his practice in Kaili, in southwestern China’s Guizhou province, with a small inheritance after his mother died while he was in jail. He’s not exactly a doctor; he’s more of a dreamer, a poet, and a…

  By Shelly Kraicer Over the last six years, Luo Li has established himself as one of the most interesting young Canadian directors on the international festival circuit, and one of the most promising Chinese independent directors to emerge in the last decade. Marked by narrative playfulness, implicitly subversive formal innovation, and elegant, beautifully crafted…

By Shelly Kraicer A small miracle of a movie, Tsai Ming-liang’s insanely slow mid-length film is also one of his most beautiful. For 56 non-action-packed minutes, we watch Tsai’s acteur fetiche Lee Kang-sheng, head shaved and dressed in red crimson monk-like robes, walk as slowly as possible through various urban spaces in and near Marseilles.…

By Shelly Kraicer There are aspects of present-day Chinese reality so bizarre that only surrealist-tinged genre films can come close to capturing them. In the press kit for the brilliant noir-mystery-arthouse mash-up Black Coal, Thin Ice, which won the Golden Bear in Berlin, director Diao Yinan observes, “There’s a lot going on in China these…

By Shelly Kraicer The good news about Wong Kar-wai’s new film is that, following the debacle that was My Blueberry Nights (2007), the good Wong is back. The Grandmaster not only banishes the (thankfully now easily forgotten) memory of Blueberry, but also manages to continue building on themes and forms from Wong’s previous films while…

By Shelly Kraicer Pema Tseden himself considers it sad that only now, after one hundred years of cinema history, the first Tibetan filmmaker has emerged. But the first is already a master, with three brilliant features to date. Known also in Chinese as Wanma Caidan, Pema Tseden was born in 1969 in the Tibetan ethnic…

By Shelly Kraicer If you happen to be a Chinese film producer, China looks like the Promised Land, if not the Wild West—a place that’s available, for the taking, with its doors wide open. (Though if you’re an activist in the marginal non-governmental sphere these days, the picture looks quite different).  2010 box-office numbers continued…