The Chinese documentary movement continues to evolve, reaching new levels of awareness of issues complicating its mission to objectively capture the reality of its society. Among these issues is that of performance in its subjects; this is especially critical given that an increasing number of documentaries are personal portraits that delve into subjective experiences. Perhaps the most memorable instance of the past year is Qiu Jiongjiong's stark black-and-white series of interviews with transsexual cabaret singer Madame Bi Langda. Madame Bi's recollections of past experiences explicitly touch on how she performs her way through life, whether interacting with friends, lovers or her audience. More than a document of the increasingly complicated gender identity politics in China, it's also a poignant testimony of a life dedicated to articulating the aesthetics of living.