Likewise, although the production seems to abide with the Chinese guidelines about movies, Feng has managed to include an underlying sensualism that presents itself briefly but rather frequently, in locker rooms and dark alleys.
#Asianmoviepulse best movies 2017 movie
In that fashion, the movie may seem to exemplify the Mao era, but a number of episodes undermine this sense, like the one with Liu Feng for example, which also serves as a dark twist in the whole concept of the romance between youths. I felt that the true value of the film and particularly of Feng’s direction lies not directly on the surface, but more in what lies underneath. Understated and realistically narrated, the story unravels in front of our very eyes without using a defined point-of-view character. Every single scene of the movie possesses an undercurrent of emotion but the director chooses to maintain a quiet and distant tone. Fights are sporadic and often in the background, what we see, rather, are the subtle details of the everyday life under strain, little gestures, stretching the rice, wartime economy, giving shelter, all narrated with Hui’s delicate touch and empathy. Far from a traditional war epic “Our Time Will Come” is instead a powerful portrayal of endurance and struggle.
But Herman saves all the bloody bits like until the very end and he succeeds with flying colours. Nevertheless, the beginning and the end of The Sleep Curse are really well put together, whereas the middle subplot is rather slow. If fans of gore films are looking for a straight out action packed, bloody slasher treat, they could be disappointed here. The Sleep Curse (Herman Yau, Hong Kong).
Eventually, Xu Bing disappears, Ke Fan searches for her desperately, and the concept of plastic surgery comes to the fore. The only one who seems to stay by her side is Ke Fan, a man who has feelings for her, although unrequited. She takes odd jobs, on a cow farm, in a dry cleaners, and in a restaurant, however, something always happens which results in her being fired. The rather abstract story shows Xu Bing leaving the monastery she inhabited to experience the “actual” world. The correctional officers are portrayed as true villains, who repeatedly state that they consider the inmates scum with no chance of rehabilitation, thus justifying their despicable behaviour, at least to themselves. In that fashion, the circumstances are truly hellish, leading many of the convicts to despair and even suicide, despite the relatively short period of incarceration (a few months). With Prisoners (Andrew Wong Kwok-huen, Hong Kong)Īndrew Wong Kwok-huen in his debut directs a film that functions as a very harsh critique of the correctional facilities in the country, particularly the ones for juvenile offenders, which are considered (as stated in the movie) much worse than those for adults.On the whole, this emerges as recommended viewing for any fan of the original Wolf Warrior movie or those who enjoy these over-the-top action set pieces, although fans who find fault with such films would be wise to proceed with caution with this one. Granted, this does feel like more of the same in relation to the original, but the film’s sense of fun makes it a more than worthy effort overall. Some of the films premiered in 2016, but since they circulated mostly in 2017, I took the liberty of including them. Here are ten of the best films released last year, with a focus on diversity. The collaborations between China and Hong Kong have resulted in a number of blockbusters Chinese filmmakers continue to produce unique (original if you prefer) films Hong Kong is trying to recapture its former status as a film production centre with the help of governmental initiatives, while Taiwan keeps producing masterpieces in a range of genres. 2017 has been a very interesting year for the Chinese-speaking world (allow me not to dwell on the politics of the matter).
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