In Chinese Movie Magazines, Paul Fonoroff highlights the capacity for humans to embed their desires and history in the most innocuous-seeming of creative efforts.
This extraordinarily tender yet epic and incisive portrait of mid-century Taiwan is one of film’s great fumblings towards an elusive truth.
Olivia Laing mixes art criticism and memoir; effectively synthesizing these two modes of writing so that the personal elevates the analysis, with a sizable emotional heft.
Angela Mao is wholesome and badass, a personality that, when brought to her fight scenes, immediately marks her as a star—although the scripts she was given don't often give her the chance to maximize that stardom.
There is nothing hidden about the world of these stories, and Yu Hua’s writing is defined by its plainspoken voice and depiction of quotidian lives.
Mary Hartman, Mary Hartman looks more like an Andy Warhol production on cable access than a nationally syndicated Norman Lear sitcom.