Love Contractually (China, 2017): Average is Useful
We ask a lot of questions when watching movies. Some can help us understand characters’ motivations, different ones could question where the story is going...
Preview – Chinese Visual Festival 2018, May 3-6
The 8th Chinese Visual Festival (CVF) will be held in London from May 3-6 at BFI Southbank and King’s College London. This year’s Festival builds...
Nervous Translation (Philippines, 2017) and the tasks/processes of perception [New Directors/New Films 2018]
Between broad historical/temporal markers of random television news broadcasts of President Marcos and/against the ‘people’ or Typhoon Unsang and the ‘old-fashionedness’ of media objects (television...
Asian Cinema Highlights of 2017
As another year draws to a close, the time has come for VCinema contributors to take a look back at 2017 and select their Asian...
A Taste of the 11th Five Flavours Asian Film Festival
There were a lot of great aspects to this year’s Five Flavours Asian Film Festival. Not only the exciting program but the festival itself had...
The (Ir)reality of Images and Words in Hong Sang-soo’s Claire’s Camera (France/South Korea, 2017) and The Day After (South Korea, 2017) [AFI Fest & SDAFF 2017]
While watching a film by Hong Sang-soo, sooner or later one is hit by the fact that people are wondrously and humourously strange creatures. Fasten...
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...
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...
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...
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...