World Cinema 2018/2019
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Phoenix Films 1999-2019/20 Sorted by Film Title 10
Phoenix Films 1999-2019/20 Sorted by Film Title Film Date Rating(%) 2046 1-Feb-2006 68 120BPM (Beats Per Minute) 24-Oct-2018 75 3 Coeurs 14-Jun-2017 64 35 Shots of Rum 13-Jan-2010 65 45 Years 20-Apr-2016 83 5 x 2 3-May-2006 65 A Bout de Souffle 23-May-2001 60 A Clockwork Orange 8-Nov-2000 81 A Fantastic Woman 3-Oct-2018 84 A Farewell to Arms 19-Nov-2014 70 A Highjacking 22-Jan-2014 92 A Late Quartet 15-Jan-2014 86 A Man Called Ove 8-Nov-2017 90 A Matter of Life and Death 7-Mar-2001 80 A One and A Two 23-Oct-2001 79 A Prairie Home Companion 19-Dec-2007 79 A Private War 15-May-2019 94 A Room and a Half 30-Mar-2011 75 A Royal Affair 3-Oct-2012 92 A Separation 21-Mar-2012 85 A Simple Life 8-May-2013 86 A Single Man 6-Oct-2010 79 A United Kingdom 22-Nov-2017 90 A Very Long Engagement 8-Jun-2005 80 A War 15-Feb-2017 91 A White Ribbon 21-Apr-2010 75 Abouna 3-Dec-2003 75 About Elly 26-Mar-2014 78 Accident 22-May-2002 72 After Love 14-Feb-2018 76 After the Storm 25-Oct-2017 77 After the Wedding 31-Oct-2007 86 Alice et Martin 10-May-2000 All About My Mother 11-Oct-2000 84 All the Wild Horses 22-May-2019 88 Almanya: Welcome To Germany 19-Oct-2016 88 Amal 14-Apr-2010 91 American Beauty 18-Oct-2000 83 American Honey 17-May-2017 67 American Splendor 9-Mar-2005 78 Amores Perros 7-Nov-2001 85 Amour 1-May-2013 85 Amy 8-Feb-2017 90 An Autumn Afternoon 2-Mar-2016 66 An Education 5-May-2010 86 Anna Karenina 17-Apr-2013 82 Another Year 2-Mar-2011 86 Apocalypse Now Redux 30-Jan-2002 77 Apollo 11 20-Nov-2019 95 Apostasy 6-Mar-2019 82 Aquarius 31-Jan-2018 73 -
Distribution Agreement in Presenting This
Distribution Agreement In presenting this thesis or dissertation as a partial fulfillment of the requirements for an advanced degree from Emory University, I hereby grant to Emory University and its agents the non-exclusive license to archive, make accessible, and display my thesis or dissertation in whole or in part in all forms of media, now or hereafter known, including display on the world wide web. I understand that I may select some access restrictions as part of the online submission of this thesis or dissertation. I retain all ownership rights to the copyright of the thesis or dissertation. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. Signature: _____________________________ ______________ Tianyi Yao Date Crime and History Intersect: Films of Murder in Contemporary Chinese Wenyi Cinema By Tianyi Yao Master of Arts Film and Media Studies _________________________________________ Matthew Bernstein Advisor _________________________________________ Tanine Allison Committee Member _________________________________________ Timothy Holland Committee Member _________________________________________ Michele Schreiber Committee Member Accepted: _________________________________________ Lisa A. Tedesco, Ph.D. Dean of the James T. Laney School of Graduate Studies ___________________ Date Crime and History Intersect: Films of Murder in Contemporary Chinese Wenyi Cinema By Tianyi Yao B.A., Trinity College, 2015 Advisor: Matthew Bernstein, M.F.A., Ph.D. An abstract of -
Mountains May Depart
presents MOUNTAINS MAY DEPART A film by JIA ZHANGKE 2015 Cannes Film Festival 2015 Toronto International Film Festival 2015 New York Film Festival China, Japan, France | 131 minutes | 2015 www.kinolorber.com Kino Lorber, Inc. 333 West 39th St. Suite 503 New York, NY 10018 (212) 629-6880 Publicity Contact: Rodrigo Brandao, [email protected] O: (212) 629-6880 Synopsis China, 1999. In Fenyang, childhood friends Liangzi, a coal miner, and Zhang, the owner of a gas station, are both in love with Tao, the town beauty. Tao eventually marries the wealthier Zhang and they have a son he names Dollar. 2014. Tao is divorced and her son emigrates to Australia with his business magnate father. Australia, 2025. 19-year-old Dollar no longer speaks Chinese and can barely communicate with his now bankrupt father. All that he remembers of his mother is her name…. Director’s Statement It’s because I’ve experienced my share of ups and downs in life that I wanted to make Mountains May Depart. This film spans the past, the present and the future, going from 1999 to 2014 and then to 2025. China’s economic development began to skyrocket in the 1990s. Living in this surreal economic environment has inevitably changed the ways that people deal with their emotions. The impulse behind this film is to examine the effect of putting financial considerations ahead of emotional relationships. If we imagine a point ten years into our future, how will we look back on what’s happening today? And how will we understand “freedom”? Buddhist thought sees four stages in the flow of life: birth, old age, sickness, and death. -
MOUNTAINS MAY DEPART (SHAN HE GU REN) a Film by Jia Zhangke
MOUNTAINS MAY DEPART (SHAN HE GU REN) A film by Jia Zhangke In Competition Cannes Film Festival 2015 China/Japan/France 2015 / 126 minutes / Mandarin with English subtitles / cert. tbc Opens in cinemas Spring 2016 FOR ALL PRESS ENQUIRIES PLEASE CONTACT Sue Porter/Lizzie Frith – Porter Frith Ltd Tel: 020 7833 8444/E‐mail: [email protected] FOR ALL OTHER ENQUIRIES PLEASE CONTACT Robert Beeson – New Wave Films [email protected] New Wave Films 1 Lower John Street London W1F 9DT Tel: 020 3603 7577 www.newwavefilms.co.uk SYNOPSIS China, 1999. In Fenyang, childhood friends Liangzi, a coal miner, and Zhang, the owner of a gas station, are both in love with Tao, the town beauty. Tao eventually marries the wealthier Zhang and they have a son he names Dollar. 2014. Tao is divorced meets up with her son before he emigrates to Australia with his business magnate father. Australia, 2025. 19-year-old Dollar no longer speaks Chinese and can barely communicate with his now bankrupt father. All that he remembers of his mother is her name... DIRECTOR’S NOTE It’s because I’ve experienced my share of ups and downs in life that I wanted to make Mountains May Depart. This film spans the past, the present and the future, going from 1999 to 2014 and then to 2025. China’s economic development began to skyrocket in the 1990s. Living in this surreal economic environment has inevitably changed the ways that people deal with their emotions. The impulse behind this film is to examine the effect of putting financial considerations ahead of emotional relationships. -
Index to Volume 29 January to December 2019 Compiled by Patricia Coward
THE INTERNATIONAL FILM MAGAZINE Index to Volume 29 January to December 2019 Compiled by Patricia Coward How to use this Index The first number after a title refers to the issue month, and the second and subsequent numbers are the page references. Eg: 8:9, 32 (August, page 9 and page 32). THIS IS A SUPPLEMENT TO SIGHT & SOUND SUBJECT INDEX Film review titles are also Akbari, Mania 6:18 Anchors Away 12:44, 46 Korean Film Archive, Seoul 3:8 archives of television material Spielberg’s campaign for four- included and are indicated by Akerman, Chantal 11:47, 92(b) Ancient Law, The 1/2:44, 45; 6:32 Stanley Kubrick 12:32 collected by 11:19 week theatrical release 5:5 (r) after the reference; Akhavan, Desiree 3:95; 6:15 Andersen, Thom 4:81 Library and Archives Richard Billingham 4:44 BAFTA 4:11, to Sue (b) after reference indicates Akin, Fatih 4:19 Anderson, Gillian 12:17 Canada, Ottawa 4:80 Jef Cornelis’s Bruce-Smith 3:5 a book review; Akin, Levan 7:29 Anderson, Laurie 4:13 Library of Congress, Washington documentaries 8:12-3 Awful Truth, The (1937) 9:42, 46 Akingbade, Ayo 8:31 Anderson, Lindsay 9:6 1/2:14; 4:80; 6:81 Josephine Deckers’s Madeline’s Axiom 7:11 A Akinnuoye-Agbaje, Adewale 8:42 Anderson, Paul Thomas Museum of Modern Art (MoMA), Madeline 6:8-9, 66(r) Ayeh, Jaygann 8:22 Abbas, Hiam 1/2:47; 12:35 Akinola, Segun 10:44 1/2:24, 38; 4:25; 11:31, 34 New York 1/2:45; 6:81 Flaherty Seminar 2019, Ayer, David 10:31 Abbasi, Ali Akrami, Jamsheed 11:83 Anderson, Wes 1/2:24, 36; 5:7; 11:6 National Library of Scotland Hamilton 10:14-5 Ayoade, Richard -
I WISH I KNEW a Film by Jia Zhangke
presents I WISH I KNEW A film by Jia Zhangke **Official Selection, Un Certain Regard, Cannes Film Festival 2010** **Official Selection, Locarno Film Festival 2010** **Official Selection, Toronto International Film Festival, 2010** China / 2010 / 118 minutes / Color / Chinese with English subtitles Publicity Contacts: David Ninh, [email protected] Distributor Contact: Chris Wells, [email protected] Kino Lorber, Inc. 333 West 39th St., Suite 503 New York, NY 10018 (212) 629-6880 Short Synopsis: Shanghai, a fast-changing metropolis, a port city where people come and go. Eighteen people recall their lives in Shanghai. Their personal experiences, like eighteen chapters of a novel, builds a vivid picture of Shanghai life from the 1930s to 2010. Long Synopsis: Shanghai's past and present flow together in Jia Zhangke's poetic and poignant portrait of this fast-changing port city. Restoring censored images and filling in forgotten facts, Jia provides an alternative version of 20th century China's fraught history as reflected through life in the Yangtze city. He builds his narrative through a series of eighteen interviews with people from all walks of life-politicians' children, ex-soldiers, criminals, and artists (including Taiwanese master Hou Hsiao-hsien) -- while returning regularly to the image of his favorite lead actress, Zhao Tao, wandering through the Shanghai World Expo Park. (The film was commissioned by the World Expo, but is anything but a piece of straightforward civic boosterism.) A richly textured tapestry full of provocative juxtapositions. - Metrograph Director’s Biography: Jia Zhangke was born in Fenyang, Shanxi, in 1970 and graduated from Beijing Film Academy. -
Uvic Thesis Template
A People’s Director: Jia Zhangke’s Cinematic Style by Yaxi Luo Bachelor of Arts, Sichuan University, 2014 A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS in the Department of Pacific and Asian Studies Yaxi Luo, 2017 University of Victoria All rights reserved. This thesis may not be reproduced in whole or in part, by photocopy or other means, without the permission of the author. ii Supervisory Committee A People’s Director: Jia Zhangke’s Cinematic Style by Yaxi Luo Bachelor of Arts, Sichuan University, 2014 Supervisory Committee Dr. Richard King, (Department of Pacific and Asian Studies) Supervisor Dr. Michael Bodden, (Department of Pacific and Asian Studies) Departmental Member iii Abstract Supervisory Committee Dr. Richard King, (Department of Pacific and Asian Studies) Supervisor Dr. Michael Bodden, (Department of Pacific and Asian Studies) Departmental Member ABSTRACT As a leading figure of “The Six Generation” directors, Jia Zhangke’s films focus on reality of contemporary Chinese society, and record the lives of people who were left behind after the country’s urbanization process. He depicts a lot of characters who struggle with their lives, and he works to explore one common question throughout all of his films: “where do I belong?” Jia Zhangke uses unique filmmaking techniques in order to emphasize the feelings of people losing their sense of home. In this thesis, I am going to analyze his cinematic style from three perspectives: photography, musical scores and metaphors. In each chapter, I will use one film as the main subject of discussion and reference other films to complement my analysis. -
AMC River East 21 312-332-FILM
© Poster Design: Kuo-Crary Tsung-Hui 322 E. Illinois St. AMC River East 21 312-332-FILM Cinema/CHicago Presents 51st Chicago International Oct. 15-29, 2015 Fim Festival FESTIVAL AT A GLANCE chicagofilmfestival.com Clever - p. 17 The 33 - p. 12 Funny Girl - p. 20 Brooklyn - p. 15 A Perfect Day - p. 29 Carol - p. 16 Stinking Heaven - p. 31 Dheepan - p. 18 The Thin Yellow Line - p. 32 dAm I Am Michael - p. 23 Very Semi-Serious - p. 34 I Smile Back - p. 23 Walking Distance - p. 35 James White - p. 24 cMeY We Are Francesco - p. 35 Macbeth - p. 26 Bite - p. 15 All About Them - p. 13 Ludo - p. 26 Big Father, Small Father and Other Stories - p. 14 Other Madnesses - p. 29 Cuckold - p. 18 The Red Spider - p. 30 Neon Bull - p. 28 Tag - p. 32 tRiLe Orphans of Eldorado - p. 28 They Look Like People - p. 32 Tough Love - p. 33 Three Days in September - p. 32 XConfessions: A Conversation With Erika Lust - p. 36 sXy Why Me? - p. 35 CONTENTS 5 Welcome! 42 Travel Guide 7 Tickets & Passes 43 Hot Spots The Birth of Saké - p. 14 10 Opening Night 44 Education Program Breakfast at Ina’s - p. 15 11 Film Program Guide 45 Membership For Grace - p. 20 12-36 Film Guide: A to Z 45 Merchandise Open Tables - p. 28 Sweet Bean - p. 31 36 Closing Night 46-52 Daily Film Schedule 38 Industry Days 53 Film Index by Country fOd 39 Spotlight: Architecture 53 Film Index by Category 39 Panels & Tast of Cinema 54 Film Index by Theme 40 Short Films 55 Festival Partners BecaUse everYboDY loves movies! For over half a century, the Chicago International Film Festival has done our part to expand your cinematic horizons with entertaining, provocative, and illuminating selections from around the globe. -
The Chinese Film Industry: Features and Trends, 2010-2016
THE CHINESE FILM INDUSTRY: FEATURES AND TRENDS, 2010-2016 Jinuo Diao A Thesis Submitted for the Degree of PhD at the University of St Andrews 2020 Full metadata for this item is available in St Andrews Research Repository at: http://research-repository.st-andrews.ac.uk/ Please use this identifier to cite or link to this item: http://hdl.handle.net/10023/19497 This item is protected by original copyright The Chinese Film Industry: Features and Trends, 2010-2016 Jinuo Diao This thesis is submitted in partial fulfilment for the degree of Doctor of Philosophy (PhD) at the University of St Andrews December 2019 Candidate's declaration I, Jinuo Diao, do hereby certify that this thesis, submitted for the degree of PhD, which is approximately 80,000 words in length, has been written by me, and that it is the record of work carried out by me, or principally by myself in collaboration with others as acknowledged, and that it has not been submitted in any previous application for any degree. I was admitted as a research student at the University of St Andrews in September 2015. I received funding from an organisation or institution and have acknowledged the funder(s) in the full text of my thesis. Date 18 December 2019 Signature of candidate Supervisor's declaration I hereby certify that the candidate has fulfilled the conditions of the Resolution and Regulations appropriate for the degree of PhD in the University of St Andrews and that the candidate is qualified to submit this thesis in application for that degree. -
SWIMMING out TILL the SEA TURNS BLUE (Yi Zhi You Dao Hai Shui Bian Lan)
XSTREAM PICTURES PRESENTS SWIMMING OUT TILL THE SEA TURNS BLUE (Yi zhi you dao hai shui bian lan) A FILM BY JIA ZHANG-KE Screening Schedule Thursday, 20.02.2020 09:30 CinemaxX 7 (Press Screening) Friday, 21.02.2020 15:00 Haus der Berliner Festspiele (World Premiere) Tuesday, 25.02.2020 12:30 Cubix 6 2020 – CHINA –DOCUMENTARY – MANDARIN – 112’ SYNOPSIS In May 2019, a large number of prominent Chinese writers and scholars gathered in a village in China’s Shanxi Province – which happens to be Jia Zhang-ke’s native province. Images from this literary event open an 18-chapter ‘symphony’ which spans the history of Chinese society since 1949. The story is told through memories of the late writer-activist Ma Feng and the testimonies of three major writers who are active today: Jia Pingwa (born in the 1950s), Yu Hua (born in the 1960s) and Liang Hong (born in the 1970s). These writers recount their own lives and literary careers, which allows the film to weave a 70-year spiritual history of the Chinese people. Ten years after his last documentary I Wish I Knew (screened in Un Certain Regard, Cannes 2011) Jia Zhang-ke returns to non-fiction with Swimming Out Till the Sea Turns Blue, the final panel in his trilogy about the arts in China. It follows Venice winners Dong (2006), and Useless (2007). WORDS FROM THE DIRECTOR After making Dong (2006, about the painter Liu Xiaodong) and Useless (2007, about the fashion designer Ma Ke), I wanted to make a documentary about Chinese writers. -
Recherches & Travaux, 93
Recherches & Travaux 93 | 2018 Cinémas des infâmes Robert Bonamy (dir.) Édition électronique URL : http://journals.openedition.org/recherchestravaux/997 DOI : 10.4000/recherchestravaux.997 ISSN : 1969-6434 Éditeur UGA Éditions/Université Grenoble Alpes Édition imprimée ISBN : 978-2-37747-065-5 ISSN : 0151-1874 Référence électronique Robert Bonamy (dir.), Recherches & Travaux, 93 | 2018, « Cinémas des infâmes » [En ligne], mis en ligne le 01 novembre 2018, consulté le 02 octobre 2020. URL : http://journals.openedition.org/ recherchestravaux/997 ; DOI : https://doi.org/10.4000/recherchestravaux.997 Ce document a été généré automatiquement le 2 octobre 2020. © Recherches & Travaux 1 Si « La Vie des hommes infâmes » du philosophe Michel Foucault est une référence constante pour les contributeurs de ce volume, il ne s’agit pas pour autant d’appliquer sans réflexion la méthode du philosophe au cinéma. Pour d’autres temps, d’autres territoires, la notion d’infamie est envisagée pour le cinéma dans ses implications politiques et esthétiques. Ainsi les analyses de cas filmiques très contemporains (Lav Diaz, Nicolas Klotz et Élisabeth Perceval, Pedro Costa, Kōji Fukada, Dominique Cabrera) côtoient l’étude d’œuvres singulières dans l’histoire du cinéma ainsi que, dans une dimension plus prospective, les propos d’artistes dont les créations sont en recherche. Recherches & Travaux, 93 | 2018 2 SOMMAIRE De la flétrissure à l’étoilement Introduction Robert Bonamy Figures filmiques de l’infamie « Faire des bijoux pour les pauvres ». Grandeur et splendeur d’infimes vies infâmes dans le cinéma de Pedro Costa Thomas Voltzenlogel Jia Zhangke, mingong et infamie migratoire Gabriel Bortzmeyer Comme un cri, un feu ou un animal qu’on ne peut étouffer Os Verdes Anos (Les Vertes années, 1963) et Mudar de Vida (Changer de vie, 1966) de Paulo Rocha Guillaume Bourgois Nouvelles archives de l’infamie : la mélancolie des androïdes Alice Leroy Communs diffamés. -
Asian American Sho W Case
APRIL 16 GAZETTE ■20 Vol. 44, No. 4 21ST ANNUAL showcase asian american Friday matinees at 2pm! SEOUL SEARCHING, April 1 ALSO: Chicago Palestine Film Festival www.siskelfilmcenter.org CHICAGO PREMIERE! 2015, Erika Frankel, USA, 77 min. “Poignant, funny and well- seasoned portrait of autumnal fervor.” —Robert Abele, Los Angeles Times With echoes of BILL CUNNINGHAM NEW YORK and JIRO DREAMS OF SUSHI, this engaging documentary portrays an old-school perfectionist in a changing world. For 40 years, chef George Perrier’s Le Bec-Fin restaurant in Philadelphia was a citadel of classic French cuisine. But tastes have changed, and Perrier decides to close—until an outpouring of support moves him to give it one more try. In English and French-accented English with English subtitles. DCP digital. (MR) April 1—7 Fri. at 2:00 pm and 6:00 pm; Sat. at 6:00 pm; Sun. at 3:00 pm; Mon. and Wed. at 6:00 pm; Tue. and Thu. at 8:15 pm FIRST CHICAGO RUN! SWEET(AN) BEAN 2015, Naomi Kawase, Japan/France/Germany, 113 min. With Kirin Kiki, Masatoshi Nagase “Easily Kawase’s most accessible film to date — at little if any cost to her trademark lyricism.’ —Guy Lodge, Variety The proprietor of a failing snack stand hires a kooky 76-year-old with a special recipe in this tasty heart-tugging drama with a mystical bent that is the trademark of director Kawase (THE MOURNING FOREST). The foodie aspect, in which all the steps in producing the sweet pancake pastry are seen, is just the whimsically delicious setup for a deeper story of redemption.