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Cannes: MK2 Buys China’s ‘Walking Past The Future’ for France

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(Variety) MK2 has acquired French rights to “Walking Past The Future,” the Chinese film that appears this week in Un Certain Regard at the Cannes Film Festival. Rights are sold by Edko Films.

The drama is directed by independent filmmaker and Cannes newcomer Li Ruijun, whose previous films “Flying with the Crane” and “River Road” premiered at Venice and Berlin respectively.

Set in modern day China, the story centers on Yaoting (Yang Zishan), daughter of aging migrant workers living in the city, who takes part in a series of highly-paid medical experiments, with tragic consequences.

“Walking Past the Future” is produced by Beijing QiTai Ocean Cultures & Media Co., Ltd., Edko (Beijing) Films Limited, Irresistible Alpha Limited, Edko Films Limited, PULIN Production Limited, and Hucheng No. 7 Films Limited.

Source: Variety by Patrick Frater

Zhang Yuqi and cast promote “Come Across Love”

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Zhang Yuqi and cast from  “Come Across Love”


Source: Xinhua

Poster of Liu Yifei in “The Chinese Widow”

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Poster from “The Chinese Widow”


Source: Facebook

Ruby Lin: “Married life isn’t much different from being single”

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(Toggle) Days after celeb couple Ruby Lin and Wallace Huo were spotted spending quality time in Japan, her comments on a recent episode of variety programme Lady First raised eyebrows in more ways than one.

The host, Pauline Lan, remarked that Ruby was “really suited to motherhood,” given that she’s been able to get back into shape so quickly after delivering her child, adding, “your baby is so smiley that you should give birth to a few more.” Ruby lit up at the mention of her daughter, gushing that her long eyelashes are just like her father’s.

When asked about maintaining her figure after childbirth, Ruby admitted that she used to not pay attention to what she was eating. That was until she ate two pieces of Taiwanese fried chicken and rashes spouted up on Little Angel’s face two days later, which scared Ruby so badly that she never broke her confinement eating rules again.

In order to get back to work, Ruby also strictly controlling her diet after her confinement period and shared her daily diet plan on the programme. For example, she would eat steamed fish, vegetables and one-third of a bowl of multi-grain rice. The fellow guests on the show were surprised at her revelation, declaring, “What you eat for the entire day is less than what I eat for a single meal!”

When it came to how life after marriage has been, Ruby’s answer surprised many. “He (Wallace) is always busy filming, so I feel that married life isn’t that much different from being single. The only difference is that we have a baby,” she admitted.

Ruby added that she has never thought of giving up on acting, which she loves, despite becoming a mother, but that she has worked out an agreement with her husband that there must be at least one parent in Taiwan at all times to look after their child.

Ruby, who married Wallace last August in a dreamy Bali wedding, welcomed their first child, a daughter nicknamed Little Angel, in January.

Source: Toggle

Chow Yun Fat’s surprise birthday party on set

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(Toggle) Chow Yun Fat is known for being extremely thoughtful towards his wife – he’s celebrated every single one of her birthdays with her since tying the knot with her in 1986. This time around, his Singaporean missus Jasmine Tan decided to return the favour by popping up unannounced at the Wu Shuang film set to celebrate the actor’s birthday.

The Hong Kong veteran actor, who turned 62 yesterday, was asked by Jasmine about what he’d like to eat before he left for work. He responded with, “I’ll be filming all day, so after we wrap up for the day we can just have a simple meal because I’ll have to work again the next day.”

Unbeknownst to him, Jasmine had arranged for a luncheon on set, and also brought along three birthday cakes to share with the entire cast and crew. On being surprised, the birthday boy shared, “I didn’t know that she prepared such a grand feast for us, so I’m really touched.”

Aaron Kwok, who will reunite with the screen legend for an upcoming movie again, leaned in for an almost-kiss with his co-star, which drew chuckles from the crowd. He later led the cast and crew in singing the birthday song, declaring that he was dedicating it to “my one and only idol”.

Source: Toggle

Janice Man poses for fashion magazine

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Actress Janice Man


Source: Xinhua

Michelle Yeoh in Cannes

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Actress Michelle Yeoh


Source: Xinhua

How a Plague on the Movie and Music Industries Became Their Chief Protector in China

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(WSJ) Chinese search giant Baidu Inc. was once a scourge of Hollywood and the U.S. music industry, which accused it of being a pipeline for pirated content.

Today when Baidu is involved in a copyright infringement case, chances are it is the one casting the blame.

Baidu’s about-face in the copyright fight reflects its emergence as a creator and buyer of content, a transition that continued recently when the company struck a deal to license original shows from Netflix Inc. Other Chinese media companies are undergoing similar transformations, upending how entertainment is protected in the world’s second-largest economy, legal analysts say.

“One of the old rationales for copyright protection…is that it provides an incentive to invest. We are seeing that in play here in China,” said Mathew Alderson, a partner and entertainment lawyer at Harris Bricken in Beijing. “Copyright is no longer something imposed on China by the U.S. It is now a tool in Chinese hands.”

One way to measure the change is by the escalating flood of lawsuits aimed at protecting intellectual property.

Nearly 87,000 copyright-related cases were filed in China last year, according to data compiled by China’s Supreme People’s Court, a 15-fold increase from 2006. These cases include claims of illegal distribution, or unauthorized reproduction, of written content, videogames, movies and TV shows.

One of the companies filing suits is iQiyi.com Inc., the video-streaming service owned by Baidu that struck the April 25 deal with Netflix to bring shows such as the paranormal coming-of-age drama “Stranger Things” and the science-fiction series “Black Mirror” to the mainland.

Last year, iQiyi was the plaintiff in at least 133 copyright cases, up from 80 a year earlier, according to data provider IPHouse.

In addition to lawsuits, iQiyi sent takedown notices to more than 1,400 websites and apps last year—at one point sending more than 1,000 notices in a single day—to defend the licensed and original content it owns, according to Wang Yan, senior director of legal affairs at iQiyi.

Not that long ago, Baidu itself was the target of lawsuits by both the music industry and Hollywood film studios for using their content without permission.

“Baidu almost single-handedly eroded the value of music [in China],” said Neil Turkewitz, former vice president of international at the Recording Industry Association of America.

For nearly a decade, Mr. Turkewitz said, Baidu’s search engine allowed users to find and play unlicensed songs directly from its web portal free.

The internet giant was sued in 2008 by major record labels Warner Music Group, Universal Music and Sony BMG Music Entertainment for violating music copyrights. At the time, the International Federation of Phonographic Industry estimated that record companies were receiving less than 5% of the estimated $700 million in potential annual revenues in China’s mobile music space.

Baidu in 2011 announced it had struck a licensing deal with all three, effectively ending the lawsuit. 
That year, Baidu recorded its first line item for content costs: $9 million.

In 2013, Baidu was sued for violating video copyrights, this time by a group of Chinese entertainment companies supported by the Motion Picture Association and major Hollywood studios, which sought $43 million in damages.

The group accused Baidu of running four services on desktop computers and smartphones that they said allow users access to Western and Chinese TV shows and movies licensed to other companies.

The plaintiffs added that in some instances, Baidu linked to sites that hosted pirated content.

Baidu lost some of those lawsuits, but ended up paying modest penalties.

A spokeswoman for Baidu declined to discuss how it has gone from being a defendant to a plaintiff in copyright cases.

Through its iQiyi streaming service, Baidu has become one of Hollywood’s best customers, striking licensing deals with major studios such as 21st Century Fox , Warner Bros. and Paramount Pictures.

It spent more than $1 billion on content last year, according to company statements.

21st Century Fox and Wall Street Journal-parent News Corp share common ownership.

For Hollywood studios, striking deals with Chinese partners is much easier than trying to defend their copyrighted content on their own, said Eric Priest, a University of Oregon School of Law professor who researches copyrights and the Chinese entertainment industry.

“If you’re a content producer with an office in Hollywood, you aren’t going to be familiar with where Chinese netizens are getting unlicensed content,” Mr. Priest said. “You won’t be familiar with the shadowy set-top manufacturers who are installing apps that people buy that allow direct access to unlicensed content. You’re going to be much better off with a partner in China that can do that.”

Source: Wall Street Journal by Wayne Ma

CFI Interview: ‘Power Rangers’ Actor Ludi Lin

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(CFI) The Power Rangers have come a long way since Ludi Lin, who plays the Black Power Ranger in the latest iteration of the teen-superhero franchise, was first introduced to them.

“I was a fan even before I knew the Power Rangers series existed,” Lin told China Film Insider at the CAA offices in Beijing in early May.

Lin explains that he was around three and a half when he left China for the West via Hong Kong, where his mother bought him the action figure.

Confused and scared in his new environs, Lin felt like he was a world away from Fuzhou, where he was born.

“As a kid, five hours is a lifetime away to fly thousands of miles to Hong Kong and so obviously I was crying non-stop,” Lin says. “So just to shut me up, my mom bought me that yellow action figure.”

In the kitschy 90s series, the yellow Power Ranger was played by Vietnamese-born American actress Thuy Trang. The black Power Ranger was played by African American actor Walter Emanuel Jones.

The none-too-subtle tokenism didn’t end there. The only other female Power Ranger, played by Amy Jo Johnson, was Pink. The remaining two white guys were a jingoistic red, white, and blue.

In Lionsgate’s latest film, which opened in China last week, the characters are considerably less on the nose. Lin joins a multicultural cast that includes actress and singer Becky G. whose character Trini questions her sexual orientation, and RJ Cyler, whose character is autistic and black.

Lin’s character Zack Taylor also confounds the stereotype of an Asian-American character as rich and successful. Halfway through the movie, we discover that Zach lives in a trailer park where he takes care of his ailing mother.

“A lot of Americans or a lot of Westerners even view Asians or Chinese people in their own country that were born there in a certain way – a stereotypical way. Whether they have a lot of money, whether they are into video games or cartoons.”

“Asian-Americans or Asians Australians — they feel more Australian than Asian. And some are poor just like Zach is poor. He lives in a trailer park. There are a lot of Asians also under the poverty line and they have to struggle as well.”

Not fitting neatly into ethnic stereotypes is something the sporty 29-year-old is used to after a life lived in Fuzhou, Hong Kong, and Australia before ending up in Canada.

That background allows Lin to fit easily into a new generation of actors who are just as comfortable in a Beijing ‘hutong’ as they are on the boulevards of Hollywood. At times in our interview, he drops Chinese idioms, waxes lyrical about US pop-culture and even occasionally slips into an Australian drawl.

“You know throughout my life I moved. I was born here, moved to Hong Kong, I went to Australia, I went to Canada and the States, and each time it was different,” Lin said.

“Eventually I always got in but it was always after some pretty bloody fights. And then finally getting accepted there’s this term in Chinese called 不打不成交 (Bù dǎ bùchéng jiāo) which means if you don’t fight then you can’t become friends.”

It was at Lin’s suggestion that his character would speak in Mandarin with his mother in the trailer home.

“It was something I discussed with the director after I got cast,” Lin says. “I told him that this is how people live at home. As a Chinese kid you go home, your mom doesn’t speak English – you’re not going to speak broken English to her, you’re going to speak her language.”

While the film hasn’t exactly gone gangbusters in China, local viewers have appreciated the casting of the China-born Lin in a meaningful role that doesn’t just have him there to “get some soy sauce,’” 打酱油 (Dǎ jiàngyóu) — slang for when people take part in something but do not put in any effort or get any results.

Lin is also keen to smash the stereotypical depiction of Asian characters in Hollywood films who he believes have traditionally been “emasculated and stripped of sexuality.”

And it looks like the young actor will have plenty of opportunities to lay those old stereotypes to waste. Just this week he landed the role of Murk in Warner Bros.’ James Wan-directed DC superhero film Aquaman.

“I’m going to keep trying to fight for more complex roles,” Lin says. “Roles that might want to pigeonhole — might want to put me in a box as an Asian or an action star or a kungfu fighter — but I’m going to do my best to break out of those roles and bring complexity and reality to them. ”

Source: China Film Insider by Fergus Ryan

Latest Jiang Guoquan horror movie about to hit screens

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There's excitement ahead of the release of a new horror film from the award winning director Jiang Guoquan.

Gui Yi Jiu Lou, or Fascinated Love, is set to hit screens across China on May 26, and tells the story of a couple trying to rebuild their lives after bankruptcy by running a restaurant.

The couple are warned not to open one particular room on the second floor of an old building, which is always kept locked.  One day, the wife decides to open the door out of curiosity triggering off a series of horrific accidents.

The film boasts no famous names, but critics are praising it for its outstanding storyline, makeup and special effects.

Jiang has a long pedigree in horror movies and is a Golden Horse Award and Hong Kong Film Award winner. His most famous movies include "Illusion Apartment" which came out in 2010 and "Cold Pupil", released in 2013.

Source: China Plus by Xu Fei

Cannes Launch for China’s ‘Bad Jokes 2’ Animation

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(Variety) Major media companies including Wanda Media, Tencent Pictures, Joy Pictures and IM Global were on hand Sunday in Cannes to give a glitzy launch to “One Hundred Thousand Bad Jokes 2,” a new Chinese animation film.

The sequel is the follow up to a 2014 film, which earned $17 million at the mainland Chinese box office.

“The humor of our movie all comes from everyday situations,” said co-directors, Lu Hengyu and Li Shujie. “The second film will be crazier and funnier.” “Bad Jokes 2” is structured as a prequel, adds new characters and upgrades the production design.

“Bad Jokes” is based on an original Chinese property which transitioned from comic books developed at the U17 company, before moving to a web series which earned 1.5 billion views, and the first feature in 2014.

The film is co-produced by Toonmax Media, Wanda Media, Alpha Pictures, Tencent Pictures, Joy Pictures, Chengdu Square Culture and Tianjin Xianshan Culture. The film will be released in China on August 18, 2017.

While the event was held in Cannes, amid the world’s largest film rights market, it was largely aimed at Chinese consumer media and the film’s theatrical launch. Nevertheless French setting elevates the profile of the film’s campaign beyond the ordinary. “Jokes 2” releases in China on Aug. 18, 2017.

The humor is very Chinese, but we are confident that it has international appeal,” said Howard Chen, VP of Tencent Pictures. “In fact, after an internal screening the other day we are worried that so much laughing will be tiring for audiences.” Overseas sales are handled by IM Global.

Source: Variety by Patrick Frater

Chinese movie "Walking Past the Future" hailed at Cannes Film Festival

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(Xinhua) Chinese director Li Ruijun's "Walking Past the Future" film, selected in the "Un Certain Regard" (In some perspective) section of the 70th Cannes Film Festival, drew wide audience's appreciation during its screening Saturday.

Through the movie, Li featured the life of a family from the first generation of migrant workers in China. The parents of the heroine Yang Yaoting had worked in Shenzhen, a metropolis in southern China for twenty years. But they lost their jobs due to aging and poor health.

They decided to return to their homeland, a village in northwest China's Gansu province with their two daughters. However, living in the countryside is not easy as expected. So Yang, the eldest daughter, returns to Shenzhen, and dreams of buying an apartment for her family.

The Chinese director said he was "honored and surprised" to be selected by the festival. For him, the film reflects the other side of Chinese social development by telling a "family and love story", which could touch the audience all over the world.

After the screening, Dany Wolf, American producer, said the film is "different" and "powerful", and he was deeply touched.

Turkish journalist Defne Gursoy Birgun said the film, with a universal concern, is the most human film she has watched in recent years.

She argued that during the post-industrial era, migration from cities to the countryside represented a challenge for all countries.

"I watched all the Chinese films every year (at Cannes Film Festival). Although it is a worldwide film festival, we think the future of the movie and innovative works are in the East," said the journalist.

This is the first for Li to take part in the Cannes Film Festival, although his works have been selected in many international cinema gatherings. He took part in the 2014 International Festival of Tokyo with film "River Road", and in 2012, Venice International Festival with "Fly with the Crane".

This year, 18 films are selected for the "Un Certain Regard" section. The awards for the section will be unveiled on May 27.

The 70th Cannes Film Festival runs from May 17 to 28.

Source: Xinhua

Cannes: All Rights Scores Fan Bingbing’s ‘Portrait’

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(Variety) Paris- and Hong Hong-based All Rights Entertainment is handling international sales on “The Lady in the Portrait,” the historical romantic drama that Cannes recently added to the festival program as a tribute to Chinese jury member Fan Bingbing.

Fan plays the 18th century Chinese empress Ulanara at the moment she meets Jesuit Jean Denis Attiret (played by Melvil Poupaud) one of the official painters to the imperial court. The film plays on the romantic tensions between the two, the rigid court etiquette and the most extreme cultural differences between East and West.

“Portrait” was directed by Charles de Meaux (“Stretch,” “Shimkent Hotel”) and written by de Meaux and Michel Fessler (“March of the Penguins,” “Ridicule”). It will play in Cannes on May 24.

Production was by Evergrande Pictures, SFDC and Anna Sanders Films, in association with Back Up Films.

All Rights has enjoyed initial Cannes success with sales of “Hostiles,” an action film now in post-production that is directed by France’s Xavier Gens. Rights were acquired for Germany, Austria and Switzerland by Splendid Films; by Twelve Entertainment for Italy; Umedia for Benelux; and for Peru, Ecuador, Colombia and Bolivia with Star Films. The remaining Latin American territories were acquired by A2 Distribution.

Source: Variety by Patrick Frater

Actress Zhang Tianai covers fashion magazine

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Actress Zhang Tianai


Source: China Daily

Zheng Jun: A star is reborn

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(China Daily) Zheng Jun achieved instant fame in 1994 with his debut album, Naked. With his rebellious voice, frank and thought-provoking lyrics and his rugged good looks, Zheng has stood out from other Chinese rockers of his generation who emerged in the early 1990s.

With his best-selling albums and popular hits such as Cinderella, Return to Lhasa and Chinese-language cover of Coldplay's Yellow, he had become ubiquitous.
However, after giving his last tour in 2006, Zheng slowed down and withdrew from the limelight, focusing on fatherhood, yoga and meditation, and a book project.
Recently, however, the rock singer-songwriter appeared at one of the capital's most popular live-house venues, Yugong Yishan, to announce an upcoming national tour, which starts in June from Beijing.
"I never intended to become a rock star and I don't make plans. When my team reminded me that it's been more than 10 years since I last gave a tour and discussed having another tour, I realized how time flies and that it may be a good timing to tour again," says Zheng.
The tour will include several Chinese cities and one of the most significant stops for Zheng is Xi'an, Shaanxi province, which is his hometown.
He will perform there in November, when he turns 50. Other cities on the tour have not been announced yet.
Fans can expect to hear the rocker's past hits. He has titled the tour Eloping, which is also the name of a song on his sixth full-length album, Chang'an Chang'an. Released in 2008, the album was Zheng's last studio album.
In the song Eloping, Zheng sings: "What I dream about is freedom and true love."
The lyrics also mirror what the rocker longs for in real life.
"The fast pace of life gets us stressed. We all want to run away from our lives. Things have changed a lot but that's still what I want," Zheng says.
Fatherhood
When asked about his life during the past 10 years, he says that he spends hours doing yoga and meditation.
A father of two-an 18-year-old daughter and a 6-year-old son-Zheng has transformed into a caring dad.
Fatherhood also inspired Zheng to launch a graphic novel titled Rock Dog, which is about a Tibetan mastiff that pursues a music dream.
In 2016, the book was adapted into a 3-D animated film, a Sino-US production directed by Ash Brannon-director of Toy Story 2.
"My daughter loves cartoons. The book started with telling that story to my daughter at bedtime. I was not a good father-behaving like a rocker, often going out and drinking all night. I wanted to change and do something for her," says Zheng.
In the book, the dog is named Metal, which is something of a self-portrait of Zheng.
Zheng was born in Xi'an to an intellectual family. His grandfather was a military officer, and his parents were both university professors.
The second child in his family, Zheng learned the violin and painting since childhood.
In 1987, he enrolled to study international trade in Hangzhou Dianzi University, where he was introduced to Western rock music by his American teachers.
In 1992, while waiting for his visa so he could go to the United States to further his studies, Zheng made a bold decision, leaving his home and hitting the road with a small performing band.
"I just wanted to sing and play the guitar then. My family was against my idea but I just left," he recalls.
For nearly a month, he traveled around remote and poor villages in Shaanxi, performing onstage as a singer and guitarist.
He also did other jobs, such as constructing makeshift stages and setting lights.
"The condition was really bad. We had to do everything by ourselves. We even didn't have a formal stage," he says. "But I was very excited to live a gypsy lifestyle."
First song
One night after the show, Zheng was assigned by the boss to guard the performers' equipment overnight. He picked up his guitar and wrote his very first song, Naked, which was the title song of his debut album later.
"I remember that the boss' son came over and asked why I wrote the song and who was going to hear it. I said, 'I was just entertaining myself and it's a good song'," Zheng says.
In 1992, Zheng came to Beijing, where he met Guo Chuanlin, a music agent, who introduced him to Red Star, one of the biggest Chinese record companies then.
Soon, Zheng signed a recording contract with Red Star and his debut album, Naked, made him a rock star.
"He is a very sensitive musician. Girls love him when he sings," says Chinese rock singer-songwriter Gao Qi, who will be a special guest at Zheng's upcoming tour.
Gao, the lead vocalist and songwriter of the rock band Overload, is an old friend.
"Looking back, my life in my 20s was restless and anxious, though I made lots of money and gained fame. It was superficial glory," Zheng says.
In 2009, he met Chinese actress Liu Yun, and a year later, they got married.
He once said that married life changed him and made him a better person.
"My son is a big fan of mine. He likes music and one of his favorite songs is Return to Lhasa," he says.
"I have hundreds of music samples on my cellphone and I often listen to these music pieces with my son."
Source: China Daily

Ann Hui, officially the most celebrated director in Hong Kong film history, turns 70

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(SCMP) To say that Ann Hui On-wah, who turns 70 on May 23, ranks among Hong Kong cinema’s biggest talents is an understatement. While she may not share the stylistic flourish – and consequently, international acclaim – of contemporaries such as Wong Kar-wai, Tsui Hark or Johnnie To Kei-fung, Hui’s human dramas, which are often steeped in social conscience, are deeply treasured by Hong Kong audiences.

Hui was born in 1947 in Liaoning, northeast China, to a Nationalist official father and a Japanese mother (a biographical detail she would subsequently explore in the 1990 film Song of the Exile, starring Maggie Cheung Man-yuk). She moved to Hong Kong at age five, eventually completing her bachelor’s and master’s degrees at the University of Hong Kong before studying at the London Film School in the early 1970s.




After a spell directing TV dramas and documentaries, Hui made her first feature – the murder mystery The Secret (1979) – and quickly came to be known as one of the leading figures of the Hong Kong New Wave film movement.

Although she has directed fewer than 30 feature films in a career that has spanned nearly four decades, Hui holds the record for most wins – five – in the Hong Kong Film Awards’ best director category, with Boat People (awarded in 1983), Summer Snow (1996), The Way We Are (2009), A Simple Life (2012) and The Golden Era (2015). She is followed by Allen Fong Yuk-ping and To, who each have three.

Hui’s delicate direction has also proven to be a major source of awards for the actresses with whom she works. The best actress ‘Silver Bear’ prize that Josephine Siao Fong-fong scooped for Summer Snow at the 1995 Berlin International Film Festival was followed by Loletta Lee’s best actress win for Ordinary Heroes at the 1999 Golden Horse Film Awards, and Deanie Ip’s best actress award at the 2011 Venice Film Festival for her role in A Simple Life.

Four actresses have won the best actress honour at the Hong Kong Film Awards for their roles in films by Hui: Siao in 1996, Siqin Gaowa for The Postmodern Life of My Aunt in 2008, Paw Hee-ching for The Way We Are in 2009, and Ip in 2012.



Hui’s next film, Our Time Will Come, starring Zhou Xun as a key figure during the Japanese occupation of Hong Kong, is tentatively set for a July release.

Source: South China Morning Post by Edmund Lee

Footage of Chinese Action Film ‘Operation Red Sea’

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(Variety) Emperor Motion Pictures has revealed the first footage from “Operation Red Sea,” one of the most ambitious Chinese action films ever made. Emperor is introducing it to buyers at the Cannes Market.

Directed by Hong Kong’s Dante Lam on a budget of $72 million (RMB500 million), “Red Sea” is about a Chinese army rescue mission in the Middle East.

“Red Sea” is a followup to Lam’s smash hit “Operation Mekong,” which grossed $173 million at the mainland Chinese box office last year. “Mekong” was a fictionalized retelling of the so-called Mekong River Massacre, in which the People’s Liberation Army intervened after two Chinese cargo ships were attacked between Thailand and Myanmar in 2011.

“Mekong” also confirmed Lam, previously best known for noir thrillers, as one of Asia’s top action movie directors.

“Red Sea,” which is still in production, required the collaboration of Bona Film Group, Emperor affiliate Emperor Film Production, Film Fireworks, Star Dream Studio, and the Chinese military’s P.L.A. Navy Government TV Art Central of China.

According to the official synopsis, “the Jiaolong Assault Team, one of the special forces of the world’s largest military force, People’s Liberation Army, is given a potentially fatal assignment, leading a small eight-man unit to evacuate Chinese residents from a North African republic in the throes of a coup d’état.

“The squad strategically makes a two-pronged rescue attempt but is tragically ambushed, resulting in heavy casualties. At the same time, the terrorist leader manages to steal the incriminating evidence against him along with essential material for the manufacture of nuclear arms. The Jiaolong Assault Team is fully aware of the importance of ensuring such material is forever removed from the terrorists’ hands.”

The screenplay was written by Lam and the film produced by Bona’s Yu Dong and executive produced by Candy Leung. The completed picture is currently scheduled for release in the fourth quarter of 2017.



Source: Variety

Actor Feng Shaofeng releases fashion photos

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Actor Feng Shaofeng


Source: China Daily

Joe Chen poses for photo shoot

Yang Mi poses for fashion magazine

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