4 items from 2013
Quinzaine Des RÉALISATEURS
Set in Singapore on the verge of the Asian crisis of 1997, Anthony Chen's first feature starts with a blurred shot: the back of a young boy doing something noisy and strange in front of a window. It works as a metaphor of what the film will tell: blurred reality, blurred futures, blurred conscience of the world in a young boy's mind before affection will make him grow up.
In young Jiale's middle-class family, Dad is a not too successful sales executive and Mom is a public officer, and she's expecting her second child. This is why she insists on hiring a maid. And since it is how the market goes, the maid will be Filipino. Teresa arrives in the family's small flat: not talkative, a good Catholic, keeping much to herself but frequently listening to music from home on her Walkman. »
- Marie-Pierre Duhamel
Tiff Bell Lightbox, the festival's gallery exhibition building in Toronto, is mounting a remarkable new retrospective, A Century of Chinese Film, which will run June 5 to August 11. A lot of behind-the-scenes legwork and negotiating went on, Bell Lightbox's Noah Cowan has told me, to make this happen. A trip to Toronto may be in order. Or we can hope this will travel. Beginning in 1935 with Cai Chusheng's "New Women" and ending in 2006 with Jia Zhangke's "Still Life," A Century of Chinese Film features over 80 titles spanning the silent era to today, offering a comprehensive refresher course for cinephiles. Some of the big auteurs rounding out the series include Edward Yang ("A Brighter Summer Day," 1991), Hou Hsiao-hsien ("A City of Sadness," 1985), Zhang Yimou ("Red Sorghum," 1987), Ang Lee and, of course, Wong Kar-wai. Bell Lightbox will also show new multi-installation exhibitions by artist/filmmaker Yang Fudong and cinematographer and Wong mainstay. »
- Anne Thompson and Ryan Lattanzio
Chen Arvin was born in Boston and grew up in a suburb of the Bay Area, first aspiring to be a comic book artist, then a rock guitar player, and eventually an architect. After graduating from architecture school, he moved back to Taiwan to apprentice with filmmaker Edward Yang (Yiyi), before going to USC film school. He's spent the last few years living and working in Taipei, Taiwan. Because both his first feature "Au Revoir Taipei" and his latest project, "Will You Still Love Me Tomorrow" are very much Taiwanese movies, most people don't know that he's American. What it's about: A gay man has been living in a straight marriage for almost 10 years, but finds himself suddenly longing for love again and changing the lives of everyone around him. What else should audiences know?: "The movie is based on stories I had heard about gay men and women »
Forget all those phoney Oscar-bait films – this complex, delicate drama about two young boys living through their parents' split is the real deal, and deeply satisfying
• Watch Peter on this week's Guardian Film Show
One of the year's best films has arrived quietly, unnoticed by the awards-season cheerleaders, but with its delicacy and complexity, it puts the Oscar-bait to shame. Hirokazu Koreeda's I Wish has taken two years to come to the UK. It has been more than worth the wait. Like his earlier movie Still Walking, this is a deeply considered Japanese family drama in the tradition of Ozu, with echoes of Edward Yang and Tsai Ming-liang – moving, sometimes heartbreakingly sad, often mysterious. The film is about the powerful imperative of family unity, but also about the inevitability, and even desirability, of families finally disintegrating and allowing everyone involved a painful kind of freedom.
The original title is Kiseki, »
- Peter Bradshaw
4 items from 2013
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