Though Chinese Portrait is his first documentary film, Wang Xiaoshuai is no stranger to what can be called documentary realism. Particularly in his early films of the 1990s such as The Days (1993, his directorial […]
Social commentary on the extensive damage of China’s whirlwind economic rise on its people and society at large is a common theme of recent Chinese art-house filmmakers. Zhou Ziyang’s debut feature Old Beast is no […]
My current research project as Lecturer in Film Studies at Nanjing University is a study of the cinema of Lou Ye, the Sixth Generation Chinese filmmaker whose credits consist of Weekend Lover (1995), Suzhou River […]
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