A Chinese movie sharply critical of deteriorating morals amid the country's rapid economic growth will finally hit theaters later this week after being heavily censored and delayed for a key Communist Party meeting, its producer, Fang Li (方勵), said.
Director Li Yu's (李玉) Lost in Beijing (蘋果), which describes the fallout after a Beijing foot massage parlor owner rapes an employee from the countryside, will be released today and is expected to show at about 500 movie theaters, the producer said.
In its uncensored form, Lost in Beijing is a damning indictment of greed and lust in modern Chinese society.
PHOTO: AP
Explicit sex scenes were cut from the movie, Fang said. He also cut out a side character, as well as scenes showing dirty streets, gambling, the Chinese flag and Tiananmen Square.
Fang said the film has also been sold to distributors in North America, Europe, Singapore, Thailand, the Philippines and South Korea.
A quixotic look at the life and times of legendary singer Bob Dylan was nominated for four Spirit Awards, the Oscars of the independent film world.
I'm Not There, which features Cate Blanchett, Richard Gere and four others playing incarnations of the enigmatic singer, was nominated for best feature; supporting actress for Blanchett; supporting actor for child performer Marcus Carl Franklin; and best director for Todd Haynes.
Also nominated for best film were A Mighty Heart, The Diving Bell and Butterfly, about paralyzed French author Jean-Dominique Bauby; Juno, about a pregnant teenager and others.
Nominees for best actress include Angelina Jolie for her role in A Mighty Heart, Ellen Page for her Juno, and China's Tang Wei (湯唯) for Lust, Caution (色,戒).
Foreign film nominees included Romania's 4 Months, 3 Weeks and 2 Days, an Israeli film called The Band's Visit, an Irish drama Once, Lady Chatterley and Persepolis from France.
The prizes are open to movies that cost less than US$20 million to make and which played in theaters for a week or at a top festival.
Sundance, the main US showcase for independent film also announced nominees this week. Winona Ryder, Nick Nolte, Anjelica Huston and Paul Giamatti will be among those competing for top honors at the festival.
Also included were documentaries on writer Hunter S. Thompson, musician Patti Smith and filmmakers Roman Polanski and Derek Jarman.
Taking place Jan. 17 to Jan. 27 in Park City, Utah, Sundance has chosen 16 films in its dramatic competition for American fictional films, including director Geoff Haley's The Last Word, starring Ryder, Wes Bentley and Ray Romano in a romance about a reclusive writer who crafts suicide notes for other people.
Also competing in a lineup heavy on tales of families at odds are: Rawson Thurber's The Mysteries of Pittsburgh, the story of a young man with a gangster father who embarks on a soul-searching summer after college; Clark Gregg's Choke, a mother-and-son tale; and Paul Schneider's Pretty Bird, a dark comic narrative of entrepreneurs trying to invent a rocket belt.
The bombing of Mumbai's commuter train network that killed nearly 200 people last year has inspired a new Indian film.
Directed by Nishikant Kamat, Mumbai Meri Jaan, will recount the death and devastation through the eyes of a female journalist, a witness to the carnage.
"The film is inspired from what happened during and after the blasts," said actress Soha Ali Khan, who plays the reporter.
"It not only tells the audience about the horror but also takes them into the aftermath of the tragedy. It is not gory in its presentation and has a humane angle to it."
Seven bombs went off within 15 minutes on packed commuter trains during the evening rush-hour in July last year, killing close to 200 innocent people and one of the bombers and injuring many more.
Police say the attack was triggered by disaffected Indian Muslims at the behest of Pakistan-based Islamist militants.
Bollywood made a critically acclaimed film based on India's worst bombing, also in Mumbai, in 1993 in which 257 people were killed. But it failed at the box office.
Mumbai Meri Jaan is set to open in February.
Nov. 11 to Nov. 17 People may call Taipei a “living hell for pedestrians,” but back in the 1960s and 1970s, citizens were even discouraged from crossing major roads on foot. And there weren’t crosswalks or pedestrian signals at busy intersections. A 1978 editorial in the China Times (中國時報) reflected the government’s car-centric attitude: “Pedestrians too often risk their lives to compete with vehicles over road use instead of using an overpass. If they get hit by a car, who can they blame?” Taipei’s car traffic was growing exponentially during the 1960s, and along with it the frequency of accidents. The policy
Hourglass-shaped sex toys casually glide along a conveyor belt through an airy new store in Tokyo, the latest attempt by Japanese manufacturer Tenga to sell adult products without the shame that is often attached. At first glance it’s not even obvious that the sleek, colorful products on display are Japan’s favorite sex toys for men, but the store has drawn a stream of couples and tourists since opening this year. “Its openness surprised me,” said customer Masafumi Kawasaki, 45, “and made me a bit embarrassed that I’d had a ‘naughty’ image” of the company. I might have thought this was some kind
What first caught my eye when I entered the 921 Earthquake Museum was a yellow band running at an angle across the floor toward a pile of exposed soil. This marks the line where, in the early morning hours of Sept. 21, 1999, a massive magnitude 7.3 earthquake raised the earth over two meters along one side of the Chelungpu Fault (車籠埔斷層). The museum’s first gallery, named after this fault, takes visitors on a journey along its length, from the spot right in front of them, where the uplift is visible in the exposed soil, all the way to the farthest
The room glows vibrant pink, the floor flooded with hundreds of tiny pink marbles. As I approach the two chairs and a plush baroque sofa of matching fuchsia, what at first appears to be a scene of domestic bliss reveals itself to be anything but as gnarled metal nails and sharp spikes protrude from the cushions. An eerie cutout of a woman recoils into the armrest. This mixed-media installation captures generations of female anguish in Yun Suknam’s native South Korea, reflecting her observations and lived experience of the subjugated and serviceable housewife. The marbles are the mother’s sweat and tears,
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