GRAIN IN EAR (Mang Zhong)

Cui Shunji is one of over 2 million ethnic Coreans in China. With her little son, she rents a small concrete hut in an industrial town somewhere in the north of China. Day and night, she is disturbed by the shouting and giggling of the prostitutes who work by the railway. Her husband is in jail. Without any official permit, Cui Shunji scrapes together a living by selling kimchi, the Corean national dish. Things change slightly to her advantage when she gets hold of a permit from a friendly policeman, and also has an affair with the married Kim, another Chinese Corean. China/South Corea 2005 Regie: Zhang Lu 109 min, 35 mm, Farbe, OF mit engl. UT Festivals: Cannes 05, Viennale 05, Pusan 05, Rotterdam 06; In Kooperation mit AK Tirol


SCHÖNE NEUE WELT wirft einen ungewohnt lockeren Blick auf das zeitgenössische, sich verändernde China, auf die Gegensätze und Konfrontationen von Materialismus, Kapitalismus, traditionellen Werten und menschlichem Begehren. Shi Run Jiu, ein 29jähriger Regisseur und Drehbuchautor, bringt mit seinem ersten Langspielfilm frischen Wind in den chinesischen Film. Er bringt uns zum Lachen und zwingt uns zugleich nachzudenken. Der Bauer Baogen, der in die große Stadt kommt, um hier seinen Preis abzuholen, den er in der Lotterie gewonnen hat, ist mehr als verblüfft, denn die gewonnene Wohnung ist noch nicht einmal gebaut. Anstatt reich und berühmt zu werden, sieht er sich mit der simplen Realität konfrontiert. Er sucht bei seiner entfernten Verwandten Jinfang Unterschlupf und bringt deren Leben ganz schön durcheinander. (trigon film) Shi Run Jiu drehte Underground-Musikvideos und arbeitete als Regieassistent bei Zhang Yimou und Lu Yue. China 1999 Regie: Shi Run Jiu 97 min, 35mm, Farbe, OmU

MINJING GUSHI – On the beat

Yang Guoli is a policeman in Beijing. He knows his beat well and takes his job seriously, working long hours and putting up with the tensions this creates at home. One day, after a rabid dog has bitten a drunkard, the chief decides that all the dogs in town have to be put down. China 1995 Regie: Ning Ying 102 min, 35mm, Farbe, Mandarin OmenglU


In twelve chapters, the film portrays the social and political landscape of post-Marxist China. People with different backgrounds are presented in their everyday lives: an old peasant who has lost his land, a millionaire talking to his stock broker on the phone, young kids hoping to become famous stars, etc. In a poetic way, the director shows how a country looking for a new identity often gets caught up by its past. China 2009 Regie: Guo Xiaolu 76 min, digiBeta, Farbe, OF mit engl. UT


SE JIE is a fable about voyeurism between four people brought toget-her in a closed space in the midst of the urban jungle. Under the scru-tiny of the taxi driver, a main character, women’s bodies are revealed li-ke separate parts: legs and bare feet, hands, shoes. Strategic moves we-ave a web of seduction. (Fribourg 2002 Catalogue) China 2001 Regie: Zhong Qiang 82 min, 35mm, 1:1.85, Farbe, Mandarin OmenglU


Beijing today. Guei has come to the city with great expectations. He finds a job as a bicycle courier and by working hard manages to buy his bicycle. To his horror, one day he discovers that the bicycle is missing. When he finally succeeds in finding it he learns, that the new owner has bought it in a flea market. The two young men will have to share it… (Berlinale Programme 01) China 2001 Regie: Wang Xiaoshuai 113 min, 35mm, 1:1.85, Farbe, Mandarin OmU

Silk Road of Pop

In the north-western edge of China along the ancient Silk Road, music is one of the hottest commodities. Permeating every corner of the province, it is vibrant and infectious. Yet, around the music lies a troubling reality. The region’s main population – the Uyghur Muslims – gradually watch their numbers dwindle as they are engulfed by Han Chinese settlement. China 2012 Regie: Sameer Farooq 53 min, Colour, DCP, OmeU Audience Award—CinemAsia Netherlands 2013


Kwok Yun is an agricultural worker in China, single and not too happy with her life. One day she suffers a circulatory collapse which enters the village’s chronicle as a UFO sighting. The communist mayor of the village appears ready for the new times as she designs a UFO-sighting-monument and builds hotels. Tourism’s/Capitalism’s marching in is triggered in the region. An absurd sociocritical satire about today’s China, and by the way: Udo Kier has an appearance as American.   Germany/China 2011 Regie: Xiaolu Guo 110 min, 35mm, OmeU


Ju is on the verge of marrying Yi’s best friend when she meets Yi. She comes across him again after her fiancé’s stupid death. They fall in love and quickly marry. Their love is to be confronted with the daily life of an ordinary couple, between the possessive wife and the husband who yearns for freedom. Life will become unbearable and lead them to divorce. Zhang Yuang is often called the leader of the «sixth generation» in paving the way for the «independent» Chinese cinema; he produces his films outside the official studios, defying censures and whatever is forbidden. His entire work takes a close look at a mutating Chinese society. His camera is sharp – and not without a certain dose of cynicism – filming unconditionally the behaviour of a young generation without landmarks. Wo Ai Ni is a character study in a confined space almost void of settings that gives the story a universal dimension. The tragedy of Ju and Yi, who are simultaneously overflowing with passion and yet suffocating in their life together, could be that of any couple anywhere in the world. China 2002 Regie: Zhang Yuan 98 min, 35mm, Farbe, Mandarin OmU Tiger Awards Competition, Rotterdam 2003; Festival Fribourg 2003


Filmmaker Ning Ying returns to her favorite theme: the gradual decay of traditional Chinese values and culture at the dawn of the 21st century. Cab driver Desi drifts through Beijing, he sees a city that is increasingly bending to the influence of the West, with traditional pastimes and customs forced to make way for the onslaught of the free-market economy. China 2001 Regie: Ning Ying 86 min, 35mm, 1:1.85, Farbe, Mandarin OmU


Der zehnjährige Jingjing wird nach der Scheidung seiner Eltern aufs Land geschickt, zu seinem Großvater, einem ehemaligen Star der Peking Oper. Die Begegnung zwischen den beiden, die sich kaum kennen, verläuft ohne Begeisterung. Hatte der Großvater nicht recht, als er sich einst gegen diese nunmehr gescheiterte Ehe der Eltern von Jingjing stellte? Und verliert Jingjing nicht alles, was er lieb hatte: Eltern, die Stadt, seine Freunde und seinen Unterricht im traditionellen Theater? Der Großvater, der früh seine Frau verloren hat, lebt in einer engen Beziehung zu Tante Lotus. Diese gibt Jingjing neue Impulse und setzt mit buddhistischer Güte und Geduld alles daran, die beiden zu versöhnen. Nach und nach finden Enkel und Großvater zusammen. Als Lotus stirbt und ihr Gefährte in Trauer versinkt, hilft ihm sein Enkel, aus dieser Einsamkeit. Sun Zhou: „Seit den 70er Jahren greift die spirituelle Krise mehr und mehr um sich. Zuerst wurden die Intellektuellen davon erfasst. Heute aber hat sie auch die einfachen Leute erreicht. Auch ich kritisierte die Traditionen, als ich jünger war. Heute bin ich überzeugt, dass man sie wohl kritisieren kann, nicht aber zerstören soll.“ „XIN XIANG, der dritte Film von Sun Zhou, spiegelt das heutige China zwischen Tradition und Moderne. Er tut das exemplarisch anhand der Peking Oper – doch steht damit zugleich die alte Kultur als Ganze zur Disposition.“ (zoom) China 1992 Regie: Shun Zhou 97min, 35mm; Farbe; OF – in Mandarin – mit dt. UT


A small-town policeman, Ma Shan, wakes up one morning to discover that his gun is missing. In China, an officer who loses his gun can be sent in prison for up to three years. Believing he must have lost it at a wedding he attended the previous evening, he begins to track down the people he sat close to at the wedding. But he fears the gun’s absence is not accidental – and that whoever has its plans to use it. First on the list is Zhou Xiaogang, the richest man in the town as a result of some shady business, and also the brother of a soldier who died while fighting alongside Ma Shan in China’s war in Vietnam in 1979. On his way to Zhou’s house, Ma Shan begins to discover that things are suddenly not all they seemed to be in his town… „On the surface, the film is about the anxiety of a Chinese middle aged man as he faces the system, his family, his individuality and the liberation he achieves using his life to obtain spiritual freedom. At its core, the film also records my journey – the dream of a young man whose universe is movies. His anxiety and anxiousness as he walks through layers and layers of ice to fulfill this dream of filmmaking. Thus, for me, all is a rite of passage.“ Lu Chuan China 2001 Regie: Lu Chuan 90 min, 35mm,1:2,35, Farbe, Dolby SR-D, Mandarin OmenglU Venedig 2002


PLATFORM sets out on a journey through basic changes from 1976, when Mao Tse-dong died, until 1989, telling the story of a group of actors. Pop music, literature from the east, television and the new role of the individual: „A kind of subculture opened the spiritual prison we were in“. (Jia Zhang-ke, Venice 2000)   China 2000, Regie: Jia Zhnag-ke, 155 min, 35mm, 1:1.85, Farbe, Mandarin OmU