Caged Interactions and Silent Tears – Zhao Dayong’s "Rough Poetry"

Sometimes a film that is initially underwhelming lingers in your mind, the echo of the images slowly transforming into more than they appeared in the moment of viewing. Zhao Dayong’s 50-minute Rough Poetry (2009) is, as its title implies, a unpolished experiment more than a fully fledged movie. But there is something in its meandering, apparently unscripted conversations and lingering close ups that resonated for days after I watched it.

Quick Link: Producer David Bandurski on China’s “Third Affliction”

Producer and media researcher David Bandurski.

David Bandurksi, the American Hong Kong-based producer of Chinese director Zhao Dayong, recently penned an opinion piece in the New York Times on what he calls China’s “third affliction” – the nation’s negative image in the world. The piece doesn’t contain anything revelatory for those familiar with contemporary China’s cultural and political landscape, but it’s a neat encapsulation of the schizophrenic nature of China’s cultural sector, split as it is between closely controlled, anodyne state-sanctioned product, and a vibrant unofficial sector which is at best ignored by the state, and at worst actively suppressed.

Where Can Chinese Indies Be Purchased or Viewed Online?

The DVD cover for Zhao Dayong's The High Life, now available through Lantern Films.

Readers of Screening China often write to me and ask where they can obtain copies of the independent Chinese films I write about. Unfortunately it's not easy to get many of the titles, but some are now available on DVD for online purchase, or are available for viewing online, so I thought I'd do a post with a couple of tips on where these sites can be found. Please note I have no affiliations with any of the companies or websites listed and take no responsibility for their products or services. All the sites I've listed provide copies of films with English subtitles.

2010: Chinese Cinema in Review

Documentary maker Ai Xiaoming filming in the studio of painter Yan Zhengxue in Beijing, September 2008. Image Dan Edwards.

While 2010 is rapidly receding into the past, earlier this week dGenerate Films paused for a moment to look back over the past year with a compilation of comments and “best of” lists from a range of filmmakers, critics and academics. Although I was on holiday in Australia when they were compiling contributions, I managed to knock  together a quick entry comprising titles, moments and events that sprung to mind when I thought about the past twelve months. It's been a busy year!

Other contributors include the dGenerate team, academic Michael Berry, Beijing-based festival programmer Shelley Kraicer, and filmmakers Xu Tong, Hu Jie and Huang Weikai. My effort is reproduced below – you can click here for the complete entry on the dGenerate Films site.

What is China? Looking Behind Things with Director Zhao Dayong

If you read my post on The High Life back in June, you'll know I'm a fan of director Zhao Dayong (pictured left, image by David Bandurski), one of the most innovative and intriguing filmmakers to have surfaced in China in recent years. Zhao's career began with the feature-length documentary Street Life in 2006, but he first attracted international attention with his following up film, the epic documentary Ghost Town, which I wrote about for RealTime. More recently Zhao unveiled his first dramatic feature, The High Life, at the Hong Kong International Film Festival in March, where the film won the Silver Digital Award and the FIRPRESCI Prize.

A Black, Absurdist Take on Modern China: Zhao Dayong’s The High Life

Recently I had the opportunity to see Zhao Dayong’s The High Life (pictured left) on DVD, my second viewing after a screening at the Hong Kong International Film Festival back in April, where the film scooped the FIRPRESCI Critics’ Jury Prize and the Silver Award in the Asian Digital Competition. I’d enjoyed the film in Hong Kong, but as so often happens at festivals there was little time to reflect on it before it was swept away by the sights and sounds of another half dozen movies in the days following. Happily, my positive impression of the film was only reinforced by a second viewing on DVD.

Thoughts on Yin Lichuan's "Knitting"

I saw Yin Lichuan's Knitting (牛郎织女, Niú lán zhī nǔ) on Saturday night (April 17) up at Beijing's Ullens Center for Contemporary Art and, sad to say, I was quite disappointed. Yin's debut The Park (公园, Gōng yúan) was a sensitive, low-key melodrama that traced the importance of family ties in China, as well as the cross-generational tensions wrought by the enormous, rapid social changes that have redrawn the contours of contemporary Chinese society. Knitting is a similarly small-scale work, but lacks the emotional insight of Yin's earlier effort.