Newsbites: Jackie Chan's 100th Film, China's Big Presence at Venice, and the CCP's Renewed Interest in Culture

Kevin Spacey checks out Gong Beibi in his first Chinese feature, Inseparable, unveiled this month at Busan.

I’m conscious Screening China has been quiet for the past month, as I’ve been tied up with my thesis and a few other things such as the recent World Cinema Now conference at Melbourne’s Monash University, where I gave a paper on Chinese documentaries. I’ve also been busy catching up on a whole lot of older Chinese film titles which I’ll blog about in the coming weeks. But first a news round up of what’s been happening in Chinese film over the past month. You may also notice the blog has a new look, which is hopefully more reader-friendly.

Zhao Liang Now “Celebrated” by the Chinese Government Claims New York Times

Zhao Liang (second from right) and Gu Changwei (far right) at a press conference about Zhao's documentary Together in Beijing earlier this year. The others pictured appear in the documentary.

Chinese documentarian Zhao Liang has been in the U.S. news recently with a somewhat critical profile of the director in the New York Times entitled, “Chinese Director’s Path From Rebel to Insider.” The long article by Edward Wong details Zhao’s supposed “evolution from a filmmaker hounded by the government to one whom it celebrates.” Zhao’s new “insider” status is said to be the result of his last documentary, Together, which was backed by China’s Ministry of Health and approved for release in Chinese cinemas.

Vacant Human Shells – Li Hongqi's “Winter Vacation”

"I want to be an orphan" – the amusing child character from Li Hongqi's Winter Vacation.

Chinese cinema is no stranger to deadpan urban dramas, but few have matched the ultra-minimalism of Li Hongqi's Winter Vacation (Han jia, 2010), which I caught recently at the Melbourne International Film Festival. Set in yet another bleak northern town, Li's players depict the repetitive motions of their senseless lives as if all emotion has been sucked out of them, leaving them as vacant human shells without apparent motivation for any of their actions.

New Dreams in a Old Landscape – Zhang Meng's "The Piano in a Factory"

Wang Qianyuan (left) as Chen, the laid-off factory worker and musician, and Qin Hailu as his girlfriend in Zhang Meng's The Piano in a Factory.

Like so many recent Chinese dramas, Zhang Meng's The Piano in a Factory (Gang de qin, 2010) is set in China's drab northeast, where the old socialist heavy industries have been shut down and the inhabitants left unemployed. Unlike many recent Chinese features, the story forsakes a miserabilist realist aesthetic for a refreshing lightness of touch and surrealistic visual edge.

A Searing Portrait of a Haunted Childhood – Chung Mong-hong's "The Fourth Portrait"

The Melbourne International Film Festival drew to a close on Sunday (7 August). Unfortunately the program was pretty light on films from China this year – perhaps a lingering affect of the festival's tiff with the Chinese government back in 2009 over the documentary 10 Conditions of Love. There were a handful of mainland titles screened, however, which I'll be reviewing in the next couple of posts. First up though is Chung Mong-hong's The Fourth Portrait (2010) from Taiwan.


A Searing Portrait of a Haunted Childhood – Chung Mong-hong's The Fourth Portrait

Bi Xiaohai as Xiang in Chung Mong-hong's wonderful second feature The Fourth Portrait.

Chung Mong-hong's extraordinary second feature The Fourth Portrait (Di si zhang hua) offers a Taiwanese tale from the wrong side of the island, eschewing the concrete jungle of Taipei for the verdant vegetation of the island's poorer rural areas. The film's heavily saturated colour palette only adds to its dream-like tropical ambience – but it's a dream in which nightmares constantly lurk at the edge of frame.

Newsbites: Founding of a Party Scams its way at the Box Office, Film Festivals in Beijing & Shanghai, and Stanley Kwan Returns

We're just in it for the suits – Wang Xinjun and Andy Lau in Founding of a Party, the Chinese Communist Party's latest love letter to itself.

It's been a while since the last Newsbites post, so here's a new roundup of China film news from around the web.

The biggest recent film news on the mainland has been the release on 15 June of Founding of a Party, the Communist Party's latest love letter to itself. This one marks the 90th anniversary of the founding of the CCP. Like 2009's Founding of a Republic, the new film is an all-star affair starring, among others, Andy Lau, Chow Yun-fat, Fan Bingbing and Zhou Xun. Shanghaiist has thoughtfully provided a complete who's who of the film's star studded cast.

You Can’t Build on an Emptiness – IFChina Original Studio

Earlier this year I was privileged to spend a few days staying with filmmaker Jian Yi in Ji'an, Jiangxi Province, at his IFChina Original Studio. The studio is an exciting initiative recently launched by Jian Yi and his wife Eva. The following is an article I wrote for RealTime magazine in Australia about IFChina's work.


Originally published in RealTime arts magazine.

You Can’t Build on an Emptiness – IFChina Original Studio

IFChina Original Studio founder and filmmaker Jian Yi, outside the studio on the campus of Jinggangshan University. Photo: Dan Edwards

Ji’an doesn’t look like the most auspicious place for a groundbreaking experiment in China’s budding civil society. The town doesn’t appear in any English language guidebooks, the local station platform is just a low-slung slab of concrete and, in early spring when I visited, a bone chilling mist hung over the town. Yet this minor Chinese city is home to IFChina original studio, a bold attempt to generate community participation in the arts and oral history in the heart of one of China’s poorest regions.

Xu Tong's Relentless Gaze – Shattered

This is the last of my posts reviewing Chinese work from this year's Hong Kong International Film Festival - apologies that it has taken so long to get all of these up online.

Old Tang and his daughter Tang Caifeng, in Xu Tong's latest documentary Shattered.

Independent Chinese documentaries are not known for their easy, upbeat tone, and few present a more confronting vision of China's lower depths than director Xu Tong. Last October I wrote about his Fortune Teller, a grueling look at the life of a crippled itinerant fortune teller and his deaf, mute, mentally impaired wife as they wandered around China's north. Among that film's cast of characters was a tough brothel owner named Tang Caifeng, who disappeared at the end of the film following her arrest during a crackdown on the sex trade. Fortune Teller's sequel, Shattered, which premiered at this year's Hong Kong International Film Festival, catches up with Tang Caifeng a year later, as she returns to her father's home in China's far northeast.