Tristan Shaw is an American writer who enjoys folklore, film, and history. You can follow him on Twitter @Tristan89201760
The first distinctively Wong Kar-wai film was 1990's "Days of Being Wild," where the Hong Kong director introduced his trademark style and themes, such as loose, elliptical narratives and an obsession with memory and troubled love. But it was a financial flop.
Pu Songling's works involving demons, ghosts, and other creatures of the night have provided inspiration for Chinese filmmakers since the dawn of cinema. In celebration of Pu's influence on film, and with Halloween happening tomorrow, here are five worthwhile movies adapted from his work.
A short, stylistic documentary that examines the love between a father and son, the difficulty of creating art, the challenges of dementia, and the importance of perseverance through anguish.
Golden Week is traditionally a popular time for movies in China, particularly films with a patriotic bent. Here are five that we recommend, including by directors Chen Kaige and Feng Xiaogang.
Eileen Chang is one of China’s most celebrated writers, with many of her stories adapted for the big screen. But what’s lesser known is that she also wrote many scripts, some of which turned into significant Chinese-language movies. To celebrate her 100th birthday on September 30, we take a closer look at this neglected side of her career.
Set in the working-class area of Prince Edward in Hong Kong, "My Prince Edward" tackles marriage, freedom, and the city’s spiraling rent. The movie is quiet and ambiguous, with themes we aren't typically asked to ponder in romantic dramas.
"Enter the Fat Dragon," an action-comedy starring Donnie Yen in a fat suit, is a remake of a 1978 movie by the same name. When it isn’t bogged down by cliches, or pushing family-friendly, New Year schmaltz, it can be fairly entertaining.
It’s actually unfortunate that the English title is "Shanghai Triad," which gives a dishonest emphasis on the mobsters. The Chinese title, taken from the lyrics of an old lullaby, better represents the movie’s theme of traditionalism or nostalgia clashing with modernity.
Bullet in the Head is unlike anything else in John Woo’s repertoire. It’s been compared to Apocalypse Now and The Deer Hunter in the way the characters endure one atrocity after another, struggling to hold on to their humanity.