Chinese Film

The two Chinese-born filmmakers reflect on Wang’s new documentary One Child Nation and her unique approach to blending the personal and political.

“I don’t see myself as an ambassador of Chinese reality.”

Yang Fudong, known for his his elegant, puzzle-like films, speaks with curator Li Zhenhua about his latest project The Fifth Night.

Set in the straitlaced and gossipy Hong Kong of the early ’60s, In the Mood for Love, Wong Kar-wai’s latest masterpiece of suave innuendo stars Maggie Cheung and Tony Leung as two married neighbors who share a contagious secret.

Centered around a 13-year-old substitute teacher in a remote and impoverished rural village, Not One Less delivers an important lesson in worth.

Wong Kar-wai’s films are kooky, cool and without being sappy, utterly romantic. The enfant terrible of Hong Kong cinema talks with playwright Han Ong about why he puts in what others leave out.

Zhang Yimou’s new movie begins with a boy’s unrequited love for a girl all over the jammed streets of contemporary Beijing. The girl’s new boyfriend, a thug, beats the boy up.

As a member of the Fifth Generation, Chen Kaige was key in reintroducing Chinese cinema to the world. Here he talks to Lawrence Chua and Peggy Chaio on the set of what was to become his most well-known film, Farewell My Concubine.

“I don’t feel very much affected by it. Even before Boat People, I got offers to make movies from companies that import films to Taiwan. The companies said they could fix the import regulations. In any case, I could only make one film a year, so it didn’t matter. I’m not losing many offers.” Ann Hui