Asian film, media, and culture

Short Film – 3006 by Matthew Leung

Films that treat their cities as characters elicit a certain melancholic sentimentality that other films don’t. This challenges the common notion that a city is and always will be an unfeeling and unresponsive entity. Sacramento […]

Posted by
on Jan, 19 · in Features

Manfei (Taiwan, 2017)

Compared to the rebellious, anxious tone and radical narratives of Mainland China’s younger generation documentarians, Taiwanese filmmakers have inherited the constant filmic style tradition of their predecessors: delicate, poetic and slow, but heart-broken. The New […]

Posted by
on Jan, 17 · in Reviews

The Power of Zhang Yimou’s Metaphors and Colour Symbolism in Raise the Red Lantern (1991) [DCCFF 2017]

When we speak of Zhang Yimou, a leading light of China’s so-called Fifth Generation of filmmakers, many people immediately conjure up sumptuous imagery from the director’s more commercially successful titles like Red Sorghum (1987), Hero […]

Posted by
on Sep, 21

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 […]

Posted by
on Sep, 19

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 […]

Posted by
on Sep, 18

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 […]

Posted by
on Sep, 15

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