Wong Kar-wai’s rise to international fame might have begun with Chungking Express (for art house fans) or In the Mood for Love (for most viewers). But the work that sealed his status as an auteur was, without a doubt, Days of Being Wild.
Asian Cinema 100
In China’s official film history, Fei Mu is labelled as an ideologically irresolute petit bourgeois artist, because he never joined the Leftist filmmakers camp.
1930s Shanghai, the ‘Paris of the Orient’, the glamorous metropolis with its celebrated ‘10-mile stretch of foreign concessions’ was China’s filmmaking centre. Of all the silent classics produced in this golden era, The Goddess is the best known.
Jia Zhangke may be the best known contemporary Chinese director, but Wang Bing is without a doubt the best Chinese documentarian.
Hou Hsiao Hsien’s City of Sadness, the first of his ‘Taiwan Trilogy’, addresses the historical wound left by the February 28 Incident.