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The Hong Kong Second Wave and their Fascination with the 1960s [DCCFF 2017]
During the mid-1980s, there was a subtle handover between the first and second Hong Kong new cinemas. After the first wavers spent the late 1970s and beyond reshaping the landscape of their national cinema, the second […]
Fleeting Romance in the Throes of Development: Lou Ye’s Suzhou River (2000) [DCCFF 2017]
Lou Ye’s breakthrough feature Suzhou River intertwines the destinies of two couples. Mardar (Jia Hongsheng) is a motorcycle courier and small-time criminal who becomes romantically involved with Moudan (Zhou Xun), the bored daughter of a […]
In Defence of Wang Tung’s Nativist Trilogy: The Black Sheep of the Taiwanese New Cinema [DCCFF 2017]
For most fans of the Taiwanese new cinema, the only trilogies that probably matter are those from Hou Hsiao-Hsien and Edward Yang. There is however a series by Wang Tung coined “the nativist trilogy” that […]
Leslie Cheung: Blamefully Beautiful [DCCFF 2017]
Leslie Cheung was a megastar by almost any standard, posthumously named the world’s third most iconic singer by CNN in 2010 (following only Michael Jackson and The Beatles).[1] Yet, in spite of a childhood spent […]
Preview – London East Asia Film Festival 2017, October 19-29
Opening this year on 19th October at ODEON Leicester Square with Hwang Dong-hyuk’s historical drama The Fortress, as an international premiere, the London East Asia Film Festival (LEAFF) will run for 11 days from 19th […]
A Short Meditation on “Whatever”: Fruit Chan’s Made in Hong Kong (1997) [DCCFF 2017]
When Wu Jing’s Wolf Warrior 2 (2017) has brought itself on par with the best of Hong Kong cinema’s kung-fu, shoot-outs, car chases, and romance in peril, would it be a hyperbole to proclaim the […]