Henry Fonda for President Thoughtful film curation asks us to consider films in a new light. Alexander Horwath knows this better than most, having…
Saturday Fiction is a formally enterprising and experimental work that delivers as an exercise in digital esotericism. Set amidst the spy games of Allied…
Our fifth dispatch from the 2019 Toronto International Film Festival (here’s our first, our second, our third, our fourth) tackles some of the fall’s…
Chinese filmmaker Lou Ye’s The Shadow Play is a vicious work that descends into the depths of corruption in both a private enterprise (the…
Lou Ye’s 2014 film Blind Massage marked a transition for director, one that took him into broadly more commercial territory for the first time.…
Despite Lou Ye’s reputation for pushing the boundaries of Chinese censorship guidelines – due to his often frank and incisive takes on politics, gender,…
Love and Bruises, which Lou Ye made during his five-year, government-imposed ban from filmmaking in China, is a tale of l’amour fou set, appropriately…
A film built upon gay male hypersexualization overlaid with some hamfisted prose, Spring Fever turns the sadness of being gay and Chinese into a…
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…
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…
The most striking aspect of Weekend Lover, the directorial debut of Sixth Generation Chinese filmmaker Lou Ye, is its palpable sense of existence as…
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…