마이키앙은 등대에서 일하는 30세 전후의 노총각이다. 외롭고 단조로운 생활속에 그는 꿈속에서 종종 첸킹이라는 여자를 만난다. 호텔에서 일하는 첸은 서른도 못되어 남편을 잃고 자신의 아들 과 함께 불운한 삶을 사는 여자다. 어느날 두사람은 만나게 되고 마이는 첸에게 자신과 관계를 맺을 것을 강요한다. 첸이 울자 마이는 심한 자책감을 느낀다. 호텔 지배인 모아저씨는 첸이 강간 당했다고 믿고 마이를 고소한다. 마이는 감옥에 갇히는데 나중에 첸이 강간이 아니라고 증언을 하여 마이는 석방된다. 첸은 세간의 입놀림의 표적이 되고, 그 사실을 알게된 마이는 첸을 찾아간다.
The mother of a murderer awaits and prepares to meet her son. The true story of a man who killed six Shanghai policemen after suffering police beatings as a punishment for riding an unlicensed bicycle. This film was produced as a part of the Jeonju Digital Project.
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.
Yu Guangyi's stunning debut explores a grueling winter amongst loggers in Northeast China as they employ traditional practices through one last, fateful expedition. For generations, the lumberjacks of Heilongjiang, China have made their living harvesting timber amidst a barren, wintry landscape. These woodcutters confront the elements, living in makeshift cabins surrounded by snow and ice. Hand tools, sleds and horses are the only technology they employ to drag massive trees down the perilous slopes of Black Bear Valley. At constant risk of injury and death, they attempt to appease the mountain gods with ancient rituals and sacrifices. Despite their heroic efforts to subsist, the deforestation caused by their decades-long customs may lead to their ultimate demise.
One long tracking shot through a park in Chengdu.
If It’s Not Now, Then When? mostly takes place in an apartment inhabited by three members of a family (though never at the same time): mother Pearlly Chua (from Tsai Ming-liang’s I Don’t Want to Sleep Alone), daughter Tan Bee Hung and young son Kenny Gan. Their father seems recently to have died. The mother leaves early and returns late, out on long walks in the park with a lover whom the daughter and her best friend try to spy on. The daughter pecks away at a computer at work and has a desultory affair with her married boss, which he carries on between his business and family phone calls. And the son breaks into cars and “recycles” the electronics he finds.
A 17 year old boy from a village in the Sechuan province leaves for the big city looking for his father, who left 6 years before and has not been heard of since. The fact that his mother still receives money his father does nothing to tame his anger. He his not looking for a warm reunion, it is unconcealed revenge that drives him. Totally lost, he roams the big city with his basket of ducks on his back...
In rural China, the job of enforcing the Communist Party's one-child policy falls on government bureaucrats tasked with imposing fines, birth control, and forced sterilizations. Xu Huijing documents this process in his native village of Ma, following the tenacious efforts of the local birth control chief during an increased sterilization quota period, revealing the absurd and tragic local consequences of high-level government policy. (Chicago International Film Festival)
Gentle, easy-going Or Kia moves from the countryside to Kuala Lumpur to work for his cousin and best friend Ah Soon, a mid-level gangster and enforcer. While Or Kia works hard to put a sister through school, Ah Soon cares for an unstable girlfriend prone to mysterious disappearances. As they both sink deeper into a nocturnal world of debts, drugs, and betrayal, Or Kia's loyalties are strained when Ah Soon falls out of favor with the bosses and tries to escape the business.
Before the Flood is a study of the final weeks of a dying city, as thousand-year-old Fengjie on the Yangtze River is reduced to rubble and its inhabitants uprooted to make way for the new Three Gorges Dam that will flood the entire valley.
"China Gate" tells the story of young Chinese fight to change their fate through studying. Right before dawn, students in Huining have already started their self-studying session; hard working youngsters have filled up the space of school ground. This is one of the most poverty-stricken Counties in Western China; here people's only hope is in education, as the way to change their social status. Therefore all their effort point towards the College Entrance Examination, the process is like going through a gate, those who pass can study at urban Universities, and have the chance to build a better life. During the same winter season in Beijing, a graduate student faces a big decision. Should he keep trying to survive in the big city or get back to his countryside home? The exhausted faces at the Beijing underground seem to be revealing the truth about their distance in between. The student comes to see the flag ceremony at Tiananmen Square, where the pulsing symbol of the nation lies.
"Huangyangchuan, Gansu province, China. It's an arid mountain area with poor roads. Ma Bingcheng is well-respected local doctor, so many patients (most of them farmers) come to see him every day. In his small clinic, people chat with each other about their lives, local conditions, or the people they know. The clinic seems to open up like a microcosm, the information and experiences of different people intertwine, revealing the conditions of typical Chinese farmers, and the typical fates of both young and old--"
철도 위에서 3년 이상 촬영하면서 빛과 어둠, 언어와 제스처가 교차하며 변화하는 중국의 내면을 담았다. 추상회화를 연상케 하는 프레임을 통해 인간과 기계의 만남을 묘사한다. 기차의 일상과 인간을 추상적 이미지로 조형한 에세이 필름. (2015년 제16회 전주국제영화제) 리뷰 3년의 시간 동안 중국의 원근각지를 이동하는 철도의 이모저모를 편집하여 만든 에세이 다큐멘터리이다. 철로, 곤히 잠자는 사람들, 콩나물시루 같은 기차의 낭하, 좁은 통로에서 담배를 피우는 사람들은 중국 사회의 빛과 그림자를 무연히 은유한다. J. P 스니아데키 감독은 추상회화를 연상케 하는 회화적인 프레임 구성을 즐겨 사용한다. 순간순간 카메라의 존재를 드러나거나 카메라 뒤에 있는 자신을 드러내기도 한다. 육중한 철의 질감, 비곗덩어리, 핏물이 흐르는 내장 등의 오브제들을 활용하면서 그는 빈 라덴이나 카다피와 모택동을 비교하는 중국 사람들의 이야기를 슬쩍 끼워 넣음으로써 사회학과 문화인류학을 오간다. 슬금슬금 옆걸음질 치며 잠행하는 카메라는 영화의 말미에 쾌적한 상 등급 고속열차로 점핑한다. 철도, 기차의 일상, 인간을 추상적인 이미지로 조형해낸 이 에세이 필름은 사물을 응시하는 밝은 눈을 지닌 예술가의 노력에 의해 탄생했다. 2014년 「필름코멘트」가 선정한 10대 영화에 이름을 올렸다. (2015년 제16회 전주국제영화제/장병원)
The movie follows two unfortunate secret lovers who are constantly looking for a solution to their situation. Both of them are always arguing over their relationship. One day they went to a trip out of the city, into the outskirt. They hope they can solve their problems or at least escape them temporarily. They don’t have a solution, and they don’t understand why they are together. One thing that keeps them together is their love and care for each other. This is the second part of James Lee’s Love Trilogy which takes another look at unfaithfulness or rather faithlessness.
17 riders with avarage age 81 decide to follow the dream of their youth and start their journey to ride around Taiwan island.
Workers, peasants, soldiers, students and merchants were five groups of Chinese society in the 1950s, after the so-called elimination of the exploited class. Borrowing this concept, the umbrella is taken as the clue to rediscover changes in various social classes after the economic reform, and to analyze the social problems in China. Workers making umbrellas, merchants selling umbrellas, students looking for jobs in the rain. Umbrella is used as a metaphor that can be seen everywhere. As the raindrop, what we see is sometimes clear, sometimes untraceable.
In 1994, the oil-rich city of Karamay in Northwest China was the site of a horrible fire that killed nearly 300 schoolchildren. The students were performing for state officials and were told to stand by while the officials exited first. After the fire, the story was heavily censored in the Chinese state media. To this day, the families of Karamay have not been allowed to publicly mourn their children.
Set in a quasi-ghost town that once thrived with oil in China's arid northwest, Yumen is a haunting, fragmented tale of hungry souls, restless youth, a wandering artist and a lonely woman, all searching for human connection among the town's crumbling landscape. One part "ruin porn", one part "ghost story”, and entirely shot on 16mm, the film brings together performance art, narrative gesture, and social realism not only to play with convention and defy genre, but also to pay homage to a disappearing life-world and a fading medium.
It has been a month Chang's wife Ling Yue has been missing. With no reasons one fine day she went to work as usual and then never returns. No one knows where she went or what had happened to her. Chang could not figure out why she disappears out of the sudden. She left no message of whatever kind or clues. One day a man named Tong shows up and claims to be Ling Yues lover. Apparently Tong is looking for Ling Yue too. In a turn of event both men formed an uneasy alliance in order to find Ling Yue
The "Great Sichuan Earthquake" took place at 14:28 on May 12, 2008. In the days after, ordinary people salvage destroyed pig farms in the mountains, collect cheap scrapped metals, or pillaging other victims' homes. Behind the media circus of official visits is an inconsolable grief of families searching for loved ones. As the Lunar New Year approaches, vagabonds and family tell of the ill-handling of rebuilding schemes and misuse relief funds. As they prepare for another visit from a high official, the refugees are swept out of the town and into tent cities. The promise to put a roof over their heads before winter seems impossible to keep.
