Zheng Junli

Shot in gorgeous color, this fascinating communist flipside to fifties Hollywood music biopics chronicles the life and tragic early death of Nie Er, the composer of the PRC’s national anthem.

Shot in gorgeous color, this fascinating communist flipside to fifties Hollywood music biopics chronicles the life and tragic early death of Nie Er, the composer of the PRC’s national anthem.

A critical hit during one of China’s most politically charged periods, Zheng’s follow-up to his 1959 anniversary epics merged Soviet-style socialist realism with his own breakthroughs in film technique, specifically his use of continuous camera movement in the spirit of traditional Chinese scrolls. Tractor-kino at its finest, the film revolves around two rural lovers—one struck with a deadly disease—and their eventual survival thanks to socialist medical advances.

China 1839. Because the British imports of opium into Southern China are creating such widespread medical and economic problems, the weak Manchu emperor Tao Kuang is forced to take action that precipitates the 'Opium War'.

An absorbing example of genre filmmaking in the People’s Republic of China, Husband and Wife could at first glance be mistaken for any other romantic melodrama chronicling the rise and decline of a married couple’s love; here, though, that love takes place in (and is entirely defined by) a realm of political upheaval and Maoist ideology. A Shanghai intellectual marries an illiterate peasant woman–turned–collectivist hero, with outcomes both universal (differences emerge) and specific (revolutionary self-critiques). At first a popular hit, the film (and Zheng himself) was soon critically attacked for counterrevolutionary, pro-bourgeois thought. Zheng even penned a confessional autocritique, but the damage to his career was done. (BAMPFA)

An absorbing example of genre filmmaking in the People’s Republic of China, Husband and Wife could at first glance be mistaken for any other romantic melodrama chronicling the rise and decline of a married couple’s love; here, though, that love takes place in (and is entirely defined by) a realm of political upheaval and Maoist ideology. A Shanghai intellectual marries an illiterate peasant woman–turned–collectivist hero, with outcomes both universal (differences emerge) and specific (revolutionary self-critiques). At first a popular hit, the film (and Zheng himself) was soon critically attacked for counterrevolutionary, pro-bourgeois thought. Zheng even penned a confessional autocritique, but the damage to his career was done. (BAMPFA)

Num edifício de apartamentos em Xangai, Hou, um oficial corrupto do Kuomintang, o partido no poder na China em meio ao caos do fim da Segunda Guerra Mundial, ocupa o prédio, avisa que irá vendê-lo e manda todos os inquilinos saírem.

Num edifício de apartamentos em Xangai, Hou, um oficial corrupto do Kuomintang, o partido no poder na China em meio ao caos do fim da Segunda Guerra Mundial, ocupa o prédio, avisa que irá vendê-lo e manda todos os inquilinos saírem.

1930's China. The village of a poor family is taken over by the occupying Japanese army. One son, Zhongliang, leaves his wife and young son to join a medic group for the Chinese Army. The other son, Zhangmin goes into hiding to protect his family. The focus shifts back and forth from the brothers' parents and Zhongliang's wife and son to Zhongliang's newfound life of luxury in a town not too far away. The plight of Zhongliang's mother, his wife, Sufan and her son, Kongeson is contrasted with Zhongliang's rise in a flourishing company.

1930's China. The village of a poor family is taken over by the occupying Japanese army. One son, Zhongliang, leaves his wife and young son to join a medic group for the Chinese Army. The other son, Zhangmin goes into hiding to protect his family. The focus shifts back and forth from the brothers' parents and Zhongliang's wife and son to Zhongliang's newfound life of luxury in a town not too far away. The plight of Zhongliang's mother, his wife, Sufan and her son, Kongeson is contrasted with Zhongliang's rise in a flourishing company.

Three stories about art stages. "Film City", "Drama Group" and "Dance Class".

A Chinese film

A silent Chinese feature film

In 1930, two sisters from the countryside, the serious Zhang Lan (Ruan Lingyu) and the frivolous Zhang Tao graduate from the secondary school where their mother Zhang Jie serves as principal. They both love their cousin Zuo, but have ambitions other than marriage. Their lives change dramatically when both attend university in Shanghai and encounter modern urban life and rapidly changing society. The film also depicts the emergence of Chiang Kai-shek's 1934 New Life Movement. Lianhua Film Studio did the film to appease the Nationalist Party which accused it of primarily presenting left-wing films, which was true.

Six young men from the city take jobs building roads for the Chinese Army

Overnight, the sexy Wei Ming will become a successful novelist. But, desperate to get the money that she needs to cure her little daughter (and harassed by a rich, unscrupulous rake), she will end up eventually engage in luxury prostitution.

A warlord's nephew lusts for farmer Song Ke's sister. When Song refuses, the whole family is thrown into jail and the sister commits suicide. The father dies of grief and Song lives with his cousin abroad. The warlord's nephew loses power and also escapes to the same country.

Pink Dream tells the story of a young novelist who is supported by a loving and hard-working wife. The novelist, however, is drawn to the decadent life of a socialite who introduces him to the dance halls that dot Shanghai. As the film progresses, the novelist soon learns of the emptiness of this urban existence and rejects it as a "pink dream."

A Chinese couple in the 1930s struggle to survive. Things get complicated for them when he enlists to fight the war against Japan.

A wild country girl moves to Shanghai with her painter boyfriend and experiences exploitation and poverty.