The 36th Chamber Lau Kar-leung Challenge of the Master: Lau Kar-leung at MoMA — July 5, 2018 Reviews: The Spiritual Boxer (1975) — July 15, 2013 Executioners from Shaolin (1977) — December 21, 2012 The 36th Chamber of Shaolin (1978) – January 14, 2025 Dirty Ho (1979) —July 2, 2013 Mad Monkey Kung Fu (1979) — December 27, 2012 Martial
The 36th Chamber John Woo Reviews: Princess Chang Ping (1976) — August 20, 2015 Heroes Shed No Tears (1986) — March 28, 2014 A Better Tomorrow (1986) — June 26, 2015 A Better Tomorrow II (1987) — November 21, 2013 Once a Thief (1991) — March 28, 2014 Twice a Thief (1991 & 1996) – June 13, 2024 Red Cliff (2009)
John Woo John Woo Capsule Reviews The Young Dragons (1973) — August 14, 2015 Kind of exactly what you’d expect from John Woo’s first film. A low-budget picture (Golden Harvest) with lofty aspirations, the influences are obvious: Peckinpah’s slo-motion, Chang Cheh’s doomed antiheroes, an unusually heightened (for a cheap genre film of the
Wong Kar-wai Wong Kar-wai Capsule Reviews Chungking Express (1994) — April 1, 2014 “Where do you want to go?” “Doesn’t matter. Wherever you want to take me.” “It’s still a very emotional towel.” Ashes of Time (1994) — February 25, 2016 Dug out the original, pre-Redux version. Having seen this in its two forms a total
Tsai Ming-liang Tsai Ming-liang Capsule Reviews Walker (2012) — October 4, 2012 Walker is Tsai Ming-liang’s first film since Visage, which I saw back at VIFF 2009 (and which my wife almost walked out of due to both boredom and extreme dislike). It’s been awhile since then and I don’t quite remember how it
Ann Hui Ann Hui Capsule Reviews The Secret (1979) — July 29, 2019 In America this would have been followed by at least two more imitation movies where Sylvia Chang solves spooky murders, of declining quality and increasing morbidity, directed by men of course and not Ann Hui, whose debut this was. But they weren’t in
The 36th Chamber Wong Kar-wai Reviews [https://www.thechinesecinema.com/tag/wong-kar-wai/]: Days of Being Wild [https://www.thechinesecinema.com/days-of-being-wild-wong-kar-wai-1990/] (1990) — August 16, 2013 Ashes of Time (Redux) [https://www.thechinesecinema.com/ashes-of-time-redux-wong-kar-wai-1994/] (1994) — August 26, 2013 Capsule Reviews [https://www.thechinesecinema.com/wong-kar-wai-capsule-reviews/] : Ashes of Time (1994)— February 25, 2016 Ashes of Time
The 36th Chamber Tsai Ming-liang Reviews: Stray Dogs (2013) — October 4, 2013 Journey to the West (2014) — September 24, 2014 Journey to the West (2014) — May 26, 2020 The Night (2021) – September 22, 2022 Where (2022) – May 5, 2023 Abiding Nowhere (2024) – December 6, 2024 Capsule Reviews: Walker (2012) — October 4, 2012 Journey to the
The 36th Chamber Ann Hui Reviews: Boat People (1982) — September 3, 2013 Love in a Fallen City (1984) — August 23, 2019 Starry is the Night (1988) —August 23, 2019 Zodiac Killers (1991) — April 9, 2014 Visible Secret (2001) – April 12, 2024 July Rhapsody (2002) – May 16, 2024 Our Time Will Come (2017) — July 6, 2017
Hong Sangsoo The Day After (Hong Sangsoo, 2017) “I think that I have no control over my destiny and that I don’t play the leading role in it. I think that I can die at any time, I am ready to accept it. I think everything is less serious than it seems. In fact, I think that
Hong Sangsoo Our Sunhi (Hong Sangsoo, 2013) The culmination of the Jung Yumi films, in which a young film student unsuccessfully navigates the attentions of several competing men, none of whom see her for who she actually is, blinded by their perceptions of her prettiness, her innocence, her artistic sense, and so on. This cycle began with
Hong Sangsoo Hahaha (Hong Sangsoo, 2010) Among the slightest of Hong Sangsoo’s films is this story about two men recalling their recent trips to a small town. The movie is narrated by each in turn, we see them in black and white still photos as they drink toasts between anecdotes. The twist is that they
Hong Sangsoo Like You Know It All (Hong Sangsoo, 2009) “Why don’t you admit you don’t know it all? It’s hard to get someone’s heart, right?” This was the first Hong Sangsoo movie I ever saw, at the Vancouver Film Festival in 2009, which is pretty much the ideal setting for a Hong movie about life
Hong Sangsoo The Day He Arrives (Hong Sangsoo, 2011) “Oh, Jeanne, to reach you at last, what a strange path I had to take.” For some reason, this final line from Robert Bresson’s Pickpocket was stuck in my head while rewatching The Day He Arrives. There’s no apparent relation between the two, though I have been thinking
Hong Sangsoo Night and Day (Hong Sangsoo, 2008) The Hongian hero, not so young anymore, finds himself alone in Paris. A quick intertitle informs us that this man, Seongnam (played by Kim Youngho), was at a party with some exchange students where marijuana was being consumed. Someone ratted him out to the police (pot smoking being apparently a
Hong Sangsoo Woman on the Beach (Hong Sangsoo, 2006) Coming off of one of his more audacious experiments in repetition, Tale of Cinema, in which the first half of the movie turns out to be a movie the main characters of the second half are watching, Woman on the Beach feels like a step toward conventionality. The two-part form
Hong Sangsoo Hong Sangsoo Capsule Reviews On the Occasion of Remembering the Turning Gate (2002) — May 9, 2013 Is it the remembering of the story of the Turning Gate that leads to re-enacting it, and if so, is it remembering the whole first half of the film that leads to inverting it? What’s the relation
Hong Sangsoo Tale of Cinema (Hong Sangsoo, 2005) A depressed young man talks to himself, narrating his life as he meets up with his brother and then runs into an old classmate on the street. He meets her after she gets off work for dinner, which naturally enough becomes drinks instead. The two resolve to kill themselves, together,
Hong Sangsoo Woman is the Future of Man (Hong Sangsoo, 2004) After finding increasing warmth amidst narrative experimentation and a shearing away of formal adornment, with his fifth film Hong Sangsoo returns to the cruel satire of his debut. A bitter and cruel skewering of the pretensions, hypocrisies and stupid lusts of the modern man, the film is relentlessly bleak, offering
Hong Sangsoo On the Occasion of Remembering the Turning Gate (Hong Sangsoo, 2002) The best of Hong Sangsoo’s early films is this, his fourth feature. Following upon the great leap forward in narrative experimentation that was Virgin Stripped Bare by Her Bachelors, with its bifurcated narrative of literal repetition and variation, Turning Gate takes a step toward the abstract. Again the narrative
King Hu King Hu Capsule Reviews The Story of Sue San (1964) — August 4, 2014 King Hu’s directorial debut. He’d been acting and working a variety of other movie jobs (props, writing, etc) since the mid-1950s, and this is for the most part in the vein of his two films as assistant director under
The 36th Chamber King Hu Reviews: Come Drink with Me (1966) — July 10, 2013 Dragon Gate Inn (1967) — July 17, 2013 A Touch of Zen (1971) – March 28, 2021 The Fate of Lee Khan (1973) — April 5, 2019 The Valiant Ones (1975) – May 30, 2024 Legend of the Mountain (1979) — August 7, 2014 Legend of
Hong Sangsoo Virgin Stripped Bare by Her Bachelors (Hong Sangsoo, 2000) Hong Sangsoo’s third feature and his first truly daring experiment in narrative shuffling. While each of the first two films were unconventional, splitting their stories in four and two halves, respectively, they still hewed to most of the basic rules of screenwriting coherence and causality: The Day a Pig
Hong Sangsoo The Power of Kangwon Province (Hong Sangsoo, 1998) Hong Sangsoo’s second feature is much more recognizably his work than his debut. He wrote the screenplay, as he will with all his subsequent films, but did not for The Day a Pig Fell Into the Well. Scenes are for the most part now filmed in static single takes
Hong Sangsoo The Day a Pig Fell Into the Well (Hong Sangsoo, 1996) Hong Sangsoo’s debut is most strikingly different from his later work in its bleakness and formal conventionality[1]. He hasn’t adopted the zoom yet, nor is he rigidly adhering to the master shot aesthetic either: there are insert shots, over the shoulder perspectives, single dinner scenes cut into
