Daily Archives:

May 14, 2019

by Daniel Gorman Film Retrospective

Summer Palace | Lou Ye

Lou Ye’s Summer Palace is an exasperating experience, full of interesting ideas and an incendiary political backdrop but falling victim to clichés of poeticized romantic longing. Though not a new idea, conflating the political and the personal can be an interesting way to explore how…

May 14, 2019
by Greg Cwik Film Retrospective

Purple Butterfly | Lou Ye

Purple Butterfly is a film of dreamy realism, sometimes insoluble and suffused with a haze that is, at once, sepulchral yet sultry — a film about war and love, and the pain of both. It takes place in a constantly raining, Japanese-occupied Shanghai. (Critics compare…

May 14, 2019
by Sean Gilman Film Retrospective

Suzhou River | Lou Ye

The year 2000 was a watershed year for Chinese-language cinema. Milestones like Crouching Tiger, Hidden Dragon and In the Mood for Love and Yi Yi saw release alongside lesser-known, but equally important, films like Jia Zhangke’s Platform and Jiang Wen’s Devils on the Doorstep (in…

May 14, 2019
by Lawrence Garcia Film Retrospective

Weekend Lover | Lou Ye

The most striking aspect of Weekend Lover, the directorial debut of Sixth Generation Chinese filmmaker Lou Ye, is its palpable sense of existence as a kind of ceaseless struggle. Indeed, the film itself feels practically willed into existence, exhibiting a preponderance of brash style…

May 14, 2019
by Paul Attard Film Retrospective

Don’t Be Young | Lou Ye

The literal translation of Don’t Be Young‘s Chinese title, “Wei Qing Shao Nu,“ means “Emotional Young Lady”— and it is, in many ways, a more than appropriate title for Lou Ye’s debut*. But the film’s stateside-given name serves a more theoretical purpose connected to its…

May 14, 2019
In Review | Online film and music criticism