It's ironic that the most iconic social realist films: “Children of Heaven”, “Umberto D.” and “Factory Boss”, often contend with the most impossible situations. In Zhang Wei's near decade-old treatise on China's manufacturing boom, toy manufacturer Lin Dalin (Yao Anlian) fights tooth and nail to complete a final order that might save his factory from financial collapse. In the week that follows, long drawn repercussions of unethical labor, workplace abuse and exploitative business deals mount on him. Bearing a core goal to humanize, “Factory Boss” portrays a flawed system through the very people within it, who must play their part in order to survive.
Factory Boss is screening at New York Asian Film Festival
With the urgency of a thriller, we open to a burning truck. A warning sign from factory workers to our protagonist, Dalin, that he had better pay up months of overdue wages. Traversing from luxury office to downbeat factory,...
Factory Boss is screening at New York Asian Film Festival
With the urgency of a thriller, we open to a burning truck. A warning sign from factory workers to our protagonist, Dalin, that he had better pay up months of overdue wages. Traversing from luxury office to downbeat factory,...
- 7/17/2023
- by Renee Ng
- AsianMoviePulse
Polish filmmaker Jerzy Skolimowski, whose sixty-year career in cinema has included the highest honors of the Berlin, Venice and Cannes film festivals, received an invitation to attend China’s Shanghai International Film Festival earlier this year while he was in Los Angeles for the Academy Awards, where his latest movie, Eo, was nominated for an Oscar. Skolimowski says he accepted the surprise invite — which included serving as Shanghai’s jury president for the festival’s 30th-anniversary edition — for reasons both “very private and a little sentimental.”
Skolimowski, 85, revealed those reasons on stage Friday at the Shanghai Grand Theater, during the festival’s opening ceremony.
“My father was born in North East China over 100 years ago, where my grandfather, the famous Polish architect, Kazimierz Skolimowski, devoted himself to designing the urban plan for one of the great cities 1,000 kilometers from here,” Skolimowski said during his brief remarks before the mostly Chinese crowd.
Skolimowski, 85, revealed those reasons on stage Friday at the Shanghai Grand Theater, during the festival’s opening ceremony.
“My father was born in North East China over 100 years ago, where my grandfather, the famous Polish architect, Kazimierz Skolimowski, devoted himself to designing the urban plan for one of the great cities 1,000 kilometers from here,” Skolimowski said during his brief remarks before the mostly Chinese crowd.
- 6/13/2023
- by Patrick Brzeski
- The Hollywood Reporter - Movie News
The Shanghai International Film Festival kicked off on a triumphant note Friday night in China’s commercial capital as the country’s film industry threw open its doors to the global film community.
This year’s edition of China’s most prestigious cinema event is the first in over three years that is easily accessible to the outside world after the past three festivals were either canceled, put online or simply very difficult to attend because of the country’s strict Covid-19 travel restrictions. The festival also happens to be celebrating its 30th anniversary this year, as well as arriving at a moment when China’s commercial film industry is finally regaining some momentum after the long years of the pandemic.
“Each section of this year’s Shanghai International Film Festival is fully back offline, and we are more than thrilled to meet all guests in-person again,” says Wenquan He,...
This year’s edition of China’s most prestigious cinema event is the first in over three years that is easily accessible to the outside world after the past three festivals were either canceled, put online or simply very difficult to attend because of the country’s strict Covid-19 travel restrictions. The festival also happens to be celebrating its 30th anniversary this year, as well as arriving at a moment when China’s commercial film industry is finally regaining some momentum after the long years of the pandemic.
“Each section of this year’s Shanghai International Film Festival is fully back offline, and we are more than thrilled to meet all guests in-person again,” says Wenquan He,...
- 6/9/2023
- by Patrick Brzeski
- The Hollywood Reporter - Movie News
Shanghai International Film Festival (Siff) has unveiled the major competition selections for its 25th edition (June 9-18), which will be the first to be held in a fully physical format with international guests since before the pandemic.
The festival’s Golden Goblet Awards comprises five sections – Main Competition, Asian New Talent, Animation Film, Documentary Film and Short Film. Winners will be announced at a ceremony in the Shanghai Grand Theater on June 17.
Siff’s main competition will screen 12 films, including Mom, Is That You?!, from Japanese veteran filmmaker Yoji Yamada; European titles including Muyeres, from Spanish director Marta Lallana, and The Chapel, from Belgium’s Dominique Deruddere; Indian director Haobam Paban Kumar’s Joseph’s Son; and three Chinese titles – Liu Jiayin’s All Ears, Johnathan Li’s Dust To Dust and Chen Shizhong’s Good Autumn, Mommy.
Poland’s Jerzy Skolimowski is heading the jury for the main competition,...
The festival’s Golden Goblet Awards comprises five sections – Main Competition, Asian New Talent, Animation Film, Documentary Film and Short Film. Winners will be announced at a ceremony in the Shanghai Grand Theater on June 17.
Siff’s main competition will screen 12 films, including Mom, Is That You?!, from Japanese veteran filmmaker Yoji Yamada; European titles including Muyeres, from Spanish director Marta Lallana, and The Chapel, from Belgium’s Dominique Deruddere; Indian director Haobam Paban Kumar’s Joseph’s Son; and three Chinese titles – Liu Jiayin’s All Ears, Johnathan Li’s Dust To Dust and Chen Shizhong’s Good Autumn, Mommy.
Poland’s Jerzy Skolimowski is heading the jury for the main competition,...
- 5/29/2023
- by Liz Shackleton
- Deadline Film + TV
Returning as an in-person event after cancelation last year, the Shanghai International Film Festival has set out an agenda with a clear focus on China.
The festival (June 9-16) will celebrate the 10th anniversary of the Belt and Road Initiative, China’s economic outreach and development program. With a series of press conferences and film culture roundtables, the Siff’s Belt and Road Film Week will “bring together old friends of the alliance from previous years and new friends made this year [..] and announce an action plan for the future.”
The festival’s most prestigious section, the Golden Goblet Awards will operate in five parts: main competition, Asian new talent, documentary features, animated features and short films. The jury for the competition section is to be headed by Poland’s Jerzy Skolimowski, accompanied by India’s Nandita Das, Indonesia’s Garin Nugroho, German cinematographer Lutz Reitemeier, China’s Song Jia,...
The festival (June 9-16) will celebrate the 10th anniversary of the Belt and Road Initiative, China’s economic outreach and development program. With a series of press conferences and film culture roundtables, the Siff’s Belt and Road Film Week will “bring together old friends of the alliance from previous years and new friends made this year [..] and announce an action plan for the future.”
The festival’s most prestigious section, the Golden Goblet Awards will operate in five parts: main competition, Asian new talent, documentary features, animated features and short films. The jury for the competition section is to be headed by Poland’s Jerzy Skolimowski, accompanied by India’s Nandita Das, Indonesia’s Garin Nugroho, German cinematographer Lutz Reitemeier, China’s Song Jia,...
- 5/18/2023
- by Patrick Frater
- Variety Film + TV
Chinese filmmaker Wang Quan’an is a man in control of himself and his narrative, and at ease on the European festival circuit. His “Ondog” is an early front-runner for a trophy at the Berlin Film Festival, where it played in competition Friday.
The film, the tale of an encounter between a very young cop and an older herdswoman nicknamed Dinosaur, takes place out on the vast Mongolian plains. It is handsome, slow and quietly moving.
“This film depicts the enormity of nature, the wisdom of nature, and transcends human morals. Dinosaur has transcendent wisdom,” Wang said at a Berlin press event on Friday. There he unpacked the film’s plot lines, and elucidated its none-too-difficult metaphors and allusions.
Dinosaur is not just the character’s name; a giant fossilized egg (or “Ondog” in the Mongolian language) is a gift that the gauche cop gives the herder as they share a post-coital cigarette.
The film, the tale of an encounter between a very young cop and an older herdswoman nicknamed Dinosaur, takes place out on the vast Mongolian plains. It is handsome, slow and quietly moving.
“This film depicts the enormity of nature, the wisdom of nature, and transcends human morals. Dinosaur has transcendent wisdom,” Wang said at a Berlin press event on Friday. There he unpacked the film’s plot lines, and elucidated its none-too-difficult metaphors and allusions.
Dinosaur is not just the character’s name; a giant fossilized egg (or “Ondog” in the Mongolian language) is a gift that the gauche cop gives the herder as they share a post-coital cigarette.
- 2/9/2019
- by Patrick Frater
- Variety Film + TV
As with Wang Xiaoshuai, who also appears in competition at Berlin, Wang Quan’an belongs to what Chinese call the sixth generation of filmmakers. That means he is in his 50s, grew up in the immediate aftermath of the Cultural Revolution (1966-76), and has witnessed for himself China’s headlong rush into industrialization, urbanization and modernity.
Unlike the younger filmmakers that follow, many of whom are making commercial films in popular genres, Wang does not take those upheavals and the new China for granted.
While never classified as an underground director or banned for his work, Wang has nevertheless chronicled China’s societal upheavals. Often he has worked with overseas craft or finance elements to bring his films to fruition.
Struggle for survival was a common theme running through Wang’s first four films. He won Berlin’s top prize, the Golden Bear, in 2007 with the heartbreaking Inner Mongolia-set “Tuya’s Marriage,...
Unlike the younger filmmakers that follow, many of whom are making commercial films in popular genres, Wang does not take those upheavals and the new China for granted.
While never classified as an underground director or banned for his work, Wang has nevertheless chronicled China’s societal upheavals. Often he has worked with overseas craft or finance elements to bring his films to fruition.
Struggle for survival was a common theme running through Wang’s first four films. He won Berlin’s top prize, the Golden Bear, in 2007 with the heartbreaking Inner Mongolia-set “Tuya’s Marriage,...
- 2/7/2019
- by Patrick Frater
- Variety Film + TV
Alas, the Chinese Girl is… well, no Girl. Tackling a similar subject matter as Belgian director Lukas Dhont’s Caméra d’Or and Queer Palme winner, this socially conscious transgender drama has its heart in the right place but struggles to find the cinematic language that would strike a more expressive, less stiffly message-y note.
The story centers on Li Huanyu (Yuan Weijie), a 30-something office worker living in a nondescript Chinese city with his buddy/secret crush. We soon learn that the young man identifies as female during her visit to confidante Liu Mann (Gao Deng), who has just returned from Thailand a woman. Huanyu regards Mann’s newfound sense of fulfillment with visible admiration and envy. As mild-mannered as she is, there’s no mistaking the burning desperation to finally turn a deep, lifelong yearning into physical reality.
In strictly linear, painstakingly expository fashion, the film then takes...
The story centers on Li Huanyu (Yuan Weijie), a 30-something office worker living in a nondescript Chinese city with his buddy/secret crush. We soon learn that the young man identifies as female during her visit to confidante Liu Mann (Gao Deng), who has just returned from Thailand a woman. Huanyu regards Mann’s newfound sense of fulfillment with visible admiration and envy. As mild-mannered as she is, there’s no mistaking the burning desperation to finally turn a deep, lifelong yearning into physical reality.
In strictly linear, painstakingly expository fashion, the film then takes...
- 10/9/2018
- by Zhuo-Ning Su
- The Film Stage
Exclusive: Israeli drama from In Treatment writer-director picked up by WestEnd; first image revealed.
WestEnd has boarded world sales rights to Nir Bergman’s (Broken Wings, In Treatment) upcoming drama Saving Neta.
The Isreali feature, in post-production, tells the stories of four women whose lives change after their brief encounter with a man called Neta.
The film is written by Eran Bar-Gil and Nir Bergman and stars Benny Avni, Neta Riskin (A Tale of Love and Darkness), Rotem Abuhab, Irit Kaplan and Naama Arlaky.
Producers are Tami Leon, Avraham Pirchi and Chilik Michaeli (Big Bad Wolves) and executive producer is Rina Schneur.
The film’s crew includes DoP Lutz Reitemeier (Wadjda) and composer Asher Goldschmidt (White God).
The film’s first image shows Avni (as Neta) and Riskin (as Sharona).
Bergman said: “At some time in our lives we’ve all made a wrong turn which brought about a sudden change. This is Neta...
WestEnd has boarded world sales rights to Nir Bergman’s (Broken Wings, In Treatment) upcoming drama Saving Neta.
The Isreali feature, in post-production, tells the stories of four women whose lives change after their brief encounter with a man called Neta.
The film is written by Eran Bar-Gil and Nir Bergman and stars Benny Avni, Neta Riskin (A Tale of Love and Darkness), Rotem Abuhab, Irit Kaplan and Naama Arlaky.
Producers are Tami Leon, Avraham Pirchi and Chilik Michaeli (Big Bad Wolves) and executive producer is Rina Schneur.
The film’s crew includes DoP Lutz Reitemeier (Wadjda) and composer Asher Goldschmidt (White God).
The film’s first image shows Avni (as Neta) and Riskin (as Sharona).
Bergman said: “At some time in our lives we’ve all made a wrong turn which brought about a sudden change. This is Neta...
- 5/12/2016
- by andreas.wiseman@screendaily.com (Andreas Wiseman)
- ScreenDaily
One of the first features shot in Saudi Arabia, and certainly the first to be written and directed by a woman, this beguiling German-Saudi co-production turns upon an image that has been a cinematic metaphor for freedom, self-empowerment and lyrical liberation from Buñuel's Un Chien Andalou through Ford's The Quiet Man to Truffaut's Jules et Jim – a man or woman on a bicycle. The eponymous 10-year-old Wadjda (affectingly played by 12-year-old Waad Mohammed) is a spirited, lower-middle-class schoolgirl in Riyadh, troubled by the impending separation of her parents, who longs to own a bike to race against her friend Abdullah. The implication is that she's rapidly approaching the age of not being able to cycle, meet a boy or go out of the house unveiled.
The story is an admirable necklace on which to string facts, anecdotes and insights that illuminate in a good-natured way the lives of women in an unthinking,...
The story is an admirable necklace on which to string facts, anecdotes and insights that illuminate in a good-natured way the lives of women in an unthinking,...
- 7/20/2013
- by Philip French
- The Guardian - Film News
Going into this year’s Berlinale you could be forgiven for thinking that all the A-list talent was presiding over the jury. It’s an impressive roster: Mike Leigh is at the head, accompanied by Iranian filmmaker Asghar Farhadi (last year’s Golden Bear champion for A Separation), Hollywood star Jake Gyllenhaal, French auteur Francois Ozon (Potiche), Dutchman Anton Corbijn (Control), and Charlotte Gainsbourg. By comparison the competition line-up seemed extremely obscure. Whilst Cannes and Venice tend to lead with premieres from established directors, the Berlin Film Festival continues its recent tradition of backing more obscure auteurs.
Out of the directors in the main competition only Italian veterans the Taviani brothers (with drama-doc hybrid Ceasar Must Die) and actor-turned-director Billy Bob Thornton (Jane Mansfield’s Car) came with anything like a reputation. Most of the films come via relative unknown talents with few previous features to their name, such as...
Out of the directors in the main competition only Italian veterans the Taviani brothers (with drama-doc hybrid Ceasar Must Die) and actor-turned-director Billy Bob Thornton (Jane Mansfield’s Car) came with anything like a reputation. Most of the films come via relative unknown talents with few previous features to their name, such as...
- 2/19/2012
- by Robert Beames
- Obsessed with Film
Paolo and Vittorio Taviani's Caesar Must Die Paolo Taviani, 80, and Vittorio Taviani, 82, were the big winners at the 2012 Berlin Film Festival. The Taviani brothers' documentary Cesare deve morire / Caesar Must Die, about a staging of Shakespeare's Julius Caesar in Rome's maximum-security prison Rebibbia — with the actual inmates playing the various roles, was the surprise winner of the Golden Bear at the 62nd Berlinale. (Caesar Must Die photo: © Umberto Montiroli.) “I hope that someone, going home, after seeing Caesar Must Die will think that even an inmate, on whose head is a terrible punishment, is, and remains, a man. And this thanks to the sublime words of Shakespeare,” Vittorio Taviani remarked. Through a translator, Paolo Taviani explained that "we chose Julius Caesar for one clear reason. We were working in a prison. That meant it was easy to get the message across with this play where actors are talking about freedom,...
- 2/19/2012
- by Andre Soares
- Alt Film Guide
Paolo and Vittorio Taviani's Caesar Must Die has won the Golden Bear at this year's Berlinale. The other awards, presented by Mike Leigh and his International Jury (Anton Corbijn, Asghar Farhadi, Charlotte Gainsbourg, Jake Gyllenhaal, François Ozon, Boualem Sansal and Barbara Sukowa):
The first Silver Bear, the Jury Grand Prix, goes to Bence Fliegauf's Just the Wind. (Last year, this prize went to a Hungarian as well, to Béla Tarr for The Turin Horse.)
Silver Bear for Best Director: Christian Petzold for Barbara.
Silver Bear for Best Actress: Rachel Mwanza for her performance in War Witch.
Silver Bear for Best Actor: Mikkel Følsgaard for A Royal Affair.
The Silver Bear for an Outstanding Artistic Contribution goes to Director of Photography Lutz Reitemeier for his work on White Deer Plain.
Silver Bear for Best Screenplay: Nikolaj Arcel and Rasmus Heisterberg for A Royal Affair.
The Alfred Bauer Award...
The first Silver Bear, the Jury Grand Prix, goes to Bence Fliegauf's Just the Wind. (Last year, this prize went to a Hungarian as well, to Béla Tarr for The Turin Horse.)
Silver Bear for Best Director: Christian Petzold for Barbara.
Silver Bear for Best Actress: Rachel Mwanza for her performance in War Witch.
Silver Bear for Best Actor: Mikkel Følsgaard for A Royal Affair.
The Silver Bear for an Outstanding Artistic Contribution goes to Director of Photography Lutz Reitemeier for his work on White Deer Plain.
Silver Bear for Best Screenplay: Nikolaj Arcel and Rasmus Heisterberg for A Royal Affair.
The Alfred Bauer Award...
- 2/18/2012
- MUBI
BERLIN -- With a simple, compelling and direct story in "Tuya's Marriage," Wang Quan'an makes eloquent points about the vanishing life of the Mongolian herdsman. Actually, make that herdswoman, since the fiercely determined heroine of this film is a true force of nature.
This character would take over any movie -- a romantic comedy set in Paris or a heated drama in New York. With a staunch character driving their movie, Wang and his co-writer, veteran scenarist Lu Wei ("Farewell My Concubine"), can take the time to sharply observe a dying lifestyle in a forbidding desert locale not far, according to Wang, from where his own mother was born.
"Tuya's Marriage" certainly has the emotional oomph to move off the festival circuit into European, and possibly even North American, art houses. Wang is working here with his regular lead actress, Yu Nan, whose beauty radiates in every scene despite being bundled in thick coats with a red scarf obscuring half her head. She just has one of those amazing faces that contains multitudes.
Her character, Tuya, has borne two children, and since her husband became disabled digging a waterless well, all household chores fall to her. This runs from herding a hundred sheep to making supper. She is exhausted though and then she hurts her back.
So she and her husband Bater (Bater) come to a pragmatic decision. They will divorce so Tuya, who is still young and pretty, can marry a man to take care of her and the children. Tuya makes one demand: Her ex-husband is part of the package.
In scenes with a wonderful sense of the comic, suitors come by horse and motorbike to negotiate a marriage. Everyone balks at Tuya's one proviso. A wealthy classmate (Peng Hongxiang) from 17 years before almost succeeds in getting Tuya to agree to put Bater into a nursing home. Bater, however, gets drunk and slashes his wrist. In the film's most gripping scene, she charges into Bater's hospital room and threatens -- for her and her sons -- to join him in suicide. She makes her point: No one in this family will take the easy way out by dying!
The solution is clearly right under Tuya's nose -- Sen'ge (Sen'ge), a fellow herdsman with a crush on Tuya, an almost comical ability to fail at any enterprise and a fearsome, philandering wife (who, since she is never seen, is a dominating force of evil throughout the movie). The route to this foreseen resolution is neither predictable nor easy, though. Indeed, the film ends on a very tentative note. For Mongolian desert dwellers, the filmmaker seems to be saying, even solutions aren't really solutions.
Yu is an experienced and most talented actress. But the real surprise here is how well the non-pros -- Bater, a Mongolian herdsman, and Sen'ge, an equestrian -- perform. There's no telling how many takes were necessary to draw out these performances. Whatever the case, the scenes among these three are all strong, and the two men make vivid and memorable characters.
The political backdrop to this story, which is never verbalized, is that heavy industrialization has drained much of the water table necessary to support traditional Mongolian herdsmen. The film's images thus capture a culture in its death throes.
German cinematographer Lutz Reitemeier catches the glories of the vast grasslands that no doubt the characters themselves never notice. Traditional music -- the movie's only musical credit is for a Mongolian Alashan Singing Chorus -- makes a major contribution. Wang's editing is leisurely, but at 95 minutes the length feels just about right.
Tuya's Marriage (Tu Ya De Hun Shi)
Maxyeeculture Industry in association with Xi'an Motion Picture Co.
Credits:
Director-editor: Wang Quan'an
Writers: Lu Wei, Wang Quan'an
Producer: Yan Jugang
Executive producers: Yuan Hanyuan, Wang Le
Director of photography: Lutz Reitemeier
Production designer: Wei Tao
Costume designer: Lu Yi
Cast:
Tuya: Yu Nan
Bater: Bater
Sen'ge: Sen'ge
Baolier: Peng Hongxiang
Zhaya: Zhaya
No MPAA rating, running time 95 minutes.
This character would take over any movie -- a romantic comedy set in Paris or a heated drama in New York. With a staunch character driving their movie, Wang and his co-writer, veteran scenarist Lu Wei ("Farewell My Concubine"), can take the time to sharply observe a dying lifestyle in a forbidding desert locale not far, according to Wang, from where his own mother was born.
"Tuya's Marriage" certainly has the emotional oomph to move off the festival circuit into European, and possibly even North American, art houses. Wang is working here with his regular lead actress, Yu Nan, whose beauty radiates in every scene despite being bundled in thick coats with a red scarf obscuring half her head. She just has one of those amazing faces that contains multitudes.
Her character, Tuya, has borne two children, and since her husband became disabled digging a waterless well, all household chores fall to her. This runs from herding a hundred sheep to making supper. She is exhausted though and then she hurts her back.
So she and her husband Bater (Bater) come to a pragmatic decision. They will divorce so Tuya, who is still young and pretty, can marry a man to take care of her and the children. Tuya makes one demand: Her ex-husband is part of the package.
In scenes with a wonderful sense of the comic, suitors come by horse and motorbike to negotiate a marriage. Everyone balks at Tuya's one proviso. A wealthy classmate (Peng Hongxiang) from 17 years before almost succeeds in getting Tuya to agree to put Bater into a nursing home. Bater, however, gets drunk and slashes his wrist. In the film's most gripping scene, she charges into Bater's hospital room and threatens -- for her and her sons -- to join him in suicide. She makes her point: No one in this family will take the easy way out by dying!
The solution is clearly right under Tuya's nose -- Sen'ge (Sen'ge), a fellow herdsman with a crush on Tuya, an almost comical ability to fail at any enterprise and a fearsome, philandering wife (who, since she is never seen, is a dominating force of evil throughout the movie). The route to this foreseen resolution is neither predictable nor easy, though. Indeed, the film ends on a very tentative note. For Mongolian desert dwellers, the filmmaker seems to be saying, even solutions aren't really solutions.
Yu is an experienced and most talented actress. But the real surprise here is how well the non-pros -- Bater, a Mongolian herdsman, and Sen'ge, an equestrian -- perform. There's no telling how many takes were necessary to draw out these performances. Whatever the case, the scenes among these three are all strong, and the two men make vivid and memorable characters.
The political backdrop to this story, which is never verbalized, is that heavy industrialization has drained much of the water table necessary to support traditional Mongolian herdsmen. The film's images thus capture a culture in its death throes.
German cinematographer Lutz Reitemeier catches the glories of the vast grasslands that no doubt the characters themselves never notice. Traditional music -- the movie's only musical credit is for a Mongolian Alashan Singing Chorus -- makes a major contribution. Wang's editing is leisurely, but at 95 minutes the length feels just about right.
Tuya's Marriage (Tu Ya De Hun Shi)
Maxyeeculture Industry in association with Xi'an Motion Picture Co.
Credits:
Director-editor: Wang Quan'an
Writers: Lu Wei, Wang Quan'an
Producer: Yan Jugang
Executive producers: Yuan Hanyuan, Wang Le
Director of photography: Lutz Reitemeier
Production designer: Wei Tao
Costume designer: Lu Yi
Cast:
Tuya: Yu Nan
Bater: Bater
Sen'ge: Sen'ge
Baolier: Peng Hongxiang
Zhaya: Zhaya
No MPAA rating, running time 95 minutes.
- 2/11/2007
- The Hollywood Reporter - Movie News
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