'The Chinese Widow' to replace 'Our Time Will Come' as Siff opener

  • ScreenDaily
'The Chinese Widow' to replace 'Our Time Will Come' as Siff opener
No reason has been given for the change in opening film.

Danish director Bille August’s The Chinese Widow will open this year’s Shanghai International Film Festival (Siff, June 17-26), replacing Ann Hui’s Our Time Will Come, which was previously announced as the opening film.

However, Our Time Will Come will still play in the Golden Goblet competition at Siff. No reason was given for the change by either the festival or the film’s producer Bona Film Group.

Both films are set in China during the Second World War. Starring Emile Hirsch and Yu Nan, The Chinese Widow tells the story of an American pilot who is shot down and saved by Chinese villagers. It remains unclear if the film has been made under the recently signed Danish-Chinese co-production treaty. August recently served as jury president at the Beijing International Film Festival.

Our Time Will Come, which stars Zhou Xun and Eddie Peng, revolves
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Sally Potter, film director – portrait of the artist

'When you push through your limits, it gets painful – it's like a scab coming off'

What first drew you to film-making?

First, watching films as a child. Second, putting a camera to my eye when I was about 14. My uncle and his then partner lent me their 8mm movie camera. I realised that, when you frame the world, you see and feel different things.

What was your big breakthrough?

The premiere of Orlando at the Venice film festival. It was startling: I don't think I'd ever had people appreciate something I'd done on such a scale.

Was it always your intention to take a multidisciplinary approach to your art (1)?

At the time, these life choices don't even feel like choices, and they're very confusing, especially as a young person. But with hindsight, it was the best possible training to be a director, which is very much a mongrel art form:
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Daily Briefing. Senses of Cinema 62

  • MUBI
A red letter day. There's a new Senses of Cinema out and it opens with the first part of Daniel Fairfax's interview with Jean-Louis Comolli, who edited Cahiers du cinéma from 1965 to 1973. Senses editor Rolando Caputo: "At the time, Cahiers was undergoing its so-called 'Marxist-Leninist' phase, with a heavy overlay of Lacanian psychoanalytic theory." And Slavoj Žižek would have been in his late teens, early 20s. At any rate: "Put simply, at stake was the demystification of the 'cinematic apparatus' to demonstrate how ideology was both embedded within the technology of cinema and an effect of its representational modes."

Fairfax: "Having steadily made films over the last 40 years — including the magisterial series on the French electoral machine, Marseille contre Marseille (1996) — Comolli has also pursued a prolonged theoretical pre-occupation with the cinema, which, in various ways, is profoundly defined by his earlier participation in Cahiers. Refreshingly, he has never sought to repudiate his radical past,
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