Directing
No description available.
It’s the end of the Tang dynasty, the country is in turmoil. A blacksmith Yuchi Gong (Honglin Dong) wants to join the army of Li Jiancheng and Li Yuanji. Due to his upright character and formidable martial skills he raises high in the ranks of their army. Unfortunately, he was disappointed by the two wreck less Li brothers and decided to join their more just and noble enemy, Liu Wuzhou. The brothers Li heard that Liu’s wife and his sister-in law are two rare beauties so they decide to kidnap them. Yuchi Gong succeeds in rescuing them but Liu’s wife dies. The stage is set for an all out martial mayhem.
Documentary on the ups and downs of the female writer Xiao Hong's life experience, her works, her love and the golden era she lived in.
Through the use of an optical printer as a creative device, the individual frame is played like a music note. A rhythmic improvisation visualized on celluloid.
Set in the unique landscape of China's Loess Plateau, Of Shadows captures the liveliness and resilience of a group of local shadow play artists navigating between the rural staging of ancient plays and the urban spectacle of national cultural heritage.
Through text, researcher-writer Alexandra David-Néel’s journey across the Himalayas a century ago unfolds via her letters home—seeking answers in a world fractured by colonial entanglements, wars, and human ferocity. In audiovisual spaces, the filmmaker's experiences in eastern Tibet are reflected via her own lens and those of native Tibetan people. What begins through her encounter with a legendary school in the region becomes, by the film’s completion, an elegy — as violence eclipses “history”, yet fails to erase memory. Meandering between past and present, the work invites viewers into a meditative space open to contemplations on life, death, history, remembrance, the self, and more.
"Screening from Within" juxtaposes the historical trajectories of the Chinese adoption of the Soviet “cinefication” movement and the contemporary transformations of itinerant film projection in China. Migrant workers of Beijing and Chengdu, rural inhabitants of Anhui, Sichuan and the Aba Tibetan Autonomous Prefecture, as well as projectionists from today and yesterday, share their thoughts, memory and experience about government and NGO-sponsored film screenings. Many of them remember the times when itinerant screening attracted huge crowds of viewers. Others—the younger ones—take video cameras in their own hands to film “from within.”
Late Summer captures a centuries-old Beijing theatre in its incarnation as a modern-day transient space.
On a high-land Tibetan pasture, a screening event unfolds quietly. Monks, herdsmen and their families gather by the screen to observe life captured through their own lenses.
