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New release date set for Feng Xiaogang's "I Am Not Madame Bovary"

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(CRI) A domestic release date has been set for director Feng Xiaogang's latest work "I Am Not Madame Bovary."

The film will meet Chinese audiences on November 18th. The black comedy tells the story of Li Xuelian, a rural Chinese woman who puts on a legal fight for a decade after being swindled and accused of infidelity by her ex-husband.

Starring superstar Fan Bingbing, the film has received acclaim internationally.

After premiering to rave reviews at the just concluded Toronto International Film Festival, the movie took home the Special Presentations honor from the International Federation of Film Critics jury.

Feng Xiaogang and Fan Bingbing are now promoting the film at the ongoing San Sebastian Film Festival in Spain. "I Am Not Madame Bovary" is one of the 17 films and the only Chinese-language film to compete for the coveted Golden Shell prize.

Fan Bingbing has also been nominated for the Best Actress recognition for her performance. The movie was previously set for a September 30th release in China. It will also meet US audiences soon.

Source: CRI

Photo album of actor Allen Ting released

Qing Ying poses for photo shoot

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Actress Qing Ying


Source: Xinhua

Fan Bingbing covers ‘Bazaar’ magazine

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Actress Fan Bingbing


Source: Xinhua

‘Dream of the Red Chamber’ and ‘Andrea Chénier’ Reviews: Opera Opts for Old Over New

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(WSJ) Plenty of new operas are being created, but too many of them sound just like the old ones. The San Francisco Opera’s latest world premiere, Bright Sheng’s “Dream of the Red Chamber,” could have been different: It is a Chinese story, and Mr. Sheng, who was born and raised in China during the Cultural Revolution and trained as a composer in the U.S., is adept at synthesizing Western and Asian musical influences for an original result. This time, however, he seems to be channeling Puccini.

The opera’s source is a sprawling 18th-century novel by Cao Xueqin, a 2,500-page family saga embracing philosophy, politics and romance that has been called the Chinese “War and Peace.” Hugely popular in China, it has spawned a literary industry of scholars and commentators, and has been made into two television series. The libretto, by David Henry Hwang and Mr. Sheng, uses a small slice of the book: A stone and a flower want to become human to fulfill their love. Through magic, they become Bao Yu, the young heir of the powerful Jia clan, and Dai Yu, his cousin. They fall in love, but Bao Yu’s mother, Lady Wang, wants him to marry another cousin, Bao Chai, who comes from a wealthy merchant family—the Jias are in debt to the emperor and need to restore their fortunes. The love triangle plays out against a background of political machinations, and the story ends unhappily.

Even with the novel’s plot drastically simplified, the librettists crammed in a lot of background. They also used a speaking narrator—the Monk ( Randall Nakano ), who “dreams” the story—to supply context, but with jarring effect. Act I is heavily expository and episodic, and much of its libretto is prosaic and not very singable. The exceptions are the poems that Bao Yu and Dai Yu sing, often to each other: They are romantic idealists, destined to be crushed by a corrupt world. The dramatic pace picks up in Act II, but now the dashing of romantic hopes and the downfall of the Jias seems almost too precipitous.

Mr. Sheng’s musical realization of the tale is puzzling. He uses occasional distinctive Chinese percussion effects, and there is a brief, tangy appearance by the qin, an ancient zither, but for the most part the score sounds like Puccini with dashes of Borodin and Bernstein. The vocal writing, especially in the first act, reaches for high notes so regularly as to become predictable, and the only character with a distinctive musical signature is the Machiavellian Lady Wang, who gets an ominous, Scarpia-like orchestral accompaniment. There are some musically gripping moments, most in the second act, as the clouds gather: the unsettled choral lament for the death of Granny Jia, the family matriarch; Bao Yu’s aria of self-assertion, when he stands up to his mother about his marriage; and Dai Yu’s mournful final aria.

Designer Tim Yip evoked the grandeur of Imperial China with lavish costumes and furniture, while the stunning backdrop of the Jia domain, made of hanging panels painted in traditional Chinese style, came apart like a jigsaw puzzle, symbolizing the fragility of their power. Stan Lai directed with panache; Gary Marder supplied the dreamy lighting and Fang-Yi Sheu the writhing choreography for Bao Yu’s erotic dream.

Pureum Jo brought a pure, soaring soprano to Dai Yu; with his high, secure tenor, Yijie Shi communicated Bao Yu’s growth from boy to man. Mezzo Irene Roberts was a pragmatic Bao Chai; mezzo Hyona Kim, a fierce Lady Wang. Qiulin Zhang brought a gravelly contralto to Granny Jia, and Karen Chia-Ling Ho had an air of touching resignation as Princess Jia, the older daughter of the family and concubine of the emperor. George Manahan was the capable conductor.

***
San Francisco also mounted an actual Italian opera, albeit a third-rate one. Umberto Giordano ’s “ Andrea Chénier ” (1896)—a tale of the French Revolution based on the true story of a poet who was guillotined in the final days of the Terror—stands or falls on its three leads. The handsome David McVicar production, with elegant sets by Robert Jones and stunning period costumes by Jenny Tiramani, began at London’s Royal Opera House in 2015 with tenor Jonas Kaufmann in the title part; the principals in San Francisco, while competent, did not have that level of charisma. Yonghoon Lee ’s Chénier was all in one gear, loud and unpoetic; Anna Pirozzi was sturdy as his love interest, the aristocrat Maddalena di Coigny; and George Gagnidze didn’t project the conflicts of Gérard, the footman turned revolutionary, and the would-be third in this romantic triangle. There were some trenchant cameos—J’Nai Bridges as the maid Bersi; Joel Sorensen as the Incredible, a spy—and the chorus did some splendid jeering at Chénier’s trial. The conductor, Nicola Luisotti, did his best to whip up some excitement.

Source: Wall Street Journal by Heidi Waleson

Chinese Pianist Lang Lang crowned New York City's Cultural Tourism Ambassador

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(Xinhua) Famed Chinese Pianist Lang Lang was named New York City's first-ever Cultural Tourism Ambassador by Mayor Bill de Blasio on Tuesday, as part of the U.S.-China Tourism Year events that promote travel and tourism between the United States and China.

Lang was also inducted into the Ride of Fame by the Grey Line Company, which operates the city's iconic double-decker sightseeing buses. He was also presented with a double-decker bus, with a permanent artwork and a special seat decorated with his photo and signature.

"I'm so excited, today will be a very long and beautiful memory that stays in my mind forever," Lang said at the induction ceremony on Sixth Avenue between 43rd and 44th Street outside Steinway Hall in the Borough of Manhattan.

Lang said as the city's Cultural Tourism Ambassador, he will invite friends from China to New York City and enjoy the best classical music and cultural events.

He will also encourage friends and fans to travel to China and experience the wonderful culture there.

New York City also proclaimed Sept. 20, 2016 as "Lang Lang Day" in the city.

In 2015, 2.67 million Chinese visited the United States. "New York City is definitely the #1 dream destination in 2016 for Chinese travelers," said Pierre Gervois, Publisher of the Shanghai travelers' Club magazine.

He said the attractivity of New York City is extremely strong for all categories of Chinese travelers, from Chinese real estate investors to students.

Source: Xinhua

China’s Shinework Pictures Unveils Fund, Slate of Co-Production Movies (Exclusive)

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(Variety) Well-established Chinese TV producer, Shinework Media has launched a feature film division with a high-powered slate of co-production movies.

Shinework Pictures, which is already producing the $65 million Jackie Chan film “Kung Fu Yoga,” says it expects to deliver 3-5 movies per year.

The slate was unveiled Tuesday in Xi’an, the historic city where the Silk Road International Film Festival is currently being held.

The lineup announcement was complemented by the launch of a film finance fund. The scale of the fund was not immediately confirmed though as this stage it is understood to have received investments from private equity sources, predominantly high net worth individuals.

“The film fund and production company’s slate will be focused on commercial China co-production films that will appeal to the China box office and international markets with budgets ranging from $10 million to $60 million,” the company said in a statement. The model sees Shinework Pictures fully- or co-financing development and then bringing in partners and using the fund for the co-production.

The emphasis on co-productions reflects the core business of Shinework Media and its founder Jonathan Shen. The company is producer of “World Film Report,” the weekly highbrow show on China Movie Channel (CCTV6.) Through the show’s international activities Shen has led outreach activities and been recognized by the United Nations’ World Peace Award and by the French Ministry of Culture.

“Shinework has a long history of introducing Chinese audiences to international culture so we have focused on co-productions to give Chinese films an opportunity to successfully reach international audiences,” said Shen, chairman and CEO of Shinework Pictures.

“China is the focus now for filmmakers worldwide, yet cultural and language barriers have made it challenging to access the Chinese market. Shinework is bridging the East and West to remove these barriers and become the next leading international Chinese film company for co-productions,” Daljit DJ Parmar (“The Lifeguard”,) Shinework Pictures’ VP of international told Variety.

Co-productions will be structured either according to Chinese regulations on co-producing or according to bilateral treaties. In some cases the movies may be the first to use treaties or help the treaties come to fruition. The slate includes the first China-Iran co-production and the first China Kazakhstan co-production.”

Titles include: sci-fi action film based on a Stan Lee character “Monkey Master,” structured as a co-production with India and being co-produced with Cinema Capital Advisory; Canadian animation “Zodiacation” with a script developed by Gerry Swallow (“Ice Age Meltdown”) and Arne Olsen; comedy action film “Way To Shaolin,”being made with Iran’s Farabi Cinema Foundation; drama 
“Composer” a biopic about Chinese composer, Xian Xing Hai to be made with Kazakhfilm; sports drama “Blades of Steel;” war actioner “Escape Shanghai,” about the WWII race for the first atomic bomb; and sports drama “The Wolf,” about a Chinese soccer player who follows his dream of playing professionally in Brazil.

Source: Variety by Patrick Frater

Well Go USA Scores China’s ‘God of War’ for North America

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(Variety) Well Go USA has acquired rights in North America, and other English-speaking territories to Chinese-language film “God of War.” The period action extravaganza stars Sammo Hung and Vincent Zhao.

The film is currently in post-production and set for a release in March 2017.

Well Go also acquired rights for the U.K., Australia and New Zealand.

With sales handled by Hong Kong’s Media Asia, it was previously licensed to CDC (Latin America); Sky Films (Taiwan); Clover Films (Singapore); MM2 (Malaysia); Wanda Vietnam Media (Vietnam); Sookie Pictures (South Korea); Golden Yellow Tree (Myanmar); EIM (airlines).

Directed and produced by Gordon Chan, the film is the story of how a Chinese general defeated Japanese pirates by using unique stratagems and maverick tactics.

The deal was sealed in Toronto, where WellGo also picked up rights to Chinese drama “I Am Not Madame Bovary,” directed by Feng Xiaogang.

Source: Variety by Patrick Frater

Street shots of Qin Hailu

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Qin Hailu in Milan for fashion week


Source: Xinhua

Street shots of Zhao Wei

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Zhao Wei in London for fashion week


Source: Xinhua

Joe Chen poses for ‘Marie Claire’

Pinewood seek eastern promise in China

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(CRI) There's no mistake that China has made a big impact on the film industry - the country is tipped to overtake the USA as the world's largest box office market by next year.

So it's no small wonder that Pinewood - one of the world's and Britain's leading film and TV studios known for the Harry Potter franchise and Star Wars films - take operations across the pond on a quest for eastern promise.

As part of their continued global expansion strategy, Pinewood Studios Group opens offices in Beijing, headed up by Amanda Halliday.

The studio will provide their expertise in the fields of studio design and build, production including post production, content development, marine services, education and training.

President of Pinewood China, Andrew M. Smith believes the expansion is a great opportunity for the company:

“Pinewood has been working in China for a number of years and we have forged some strong relationships with film companies, content producers and games developers.  A permanent presence in China is a key strategic element of Pinewood’s overall international strategy.”

Karen Bradley, MP Secretary of State for Culture, Media and Sport thinks the move supports the legacy of Pinewood's world class heritage and reputation:

“The British film industry is one of our greatest success stories, and we are world renowned for our talents, skills and creativity when it comes to making movies. Pinewood is one of our most iconic brands and, building on the recent state visit to the UK by Chinese president, Xi Jinping, I’m delighted to see Pinewood further expanding its presence in the international market as part of its strategic global growth plan."

Source: CRI

Popular Japanese Cartoon Movie to Hit Chinese Theatres Friday

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A popular, long-running cartoon series from Japan, "Chibi Maruko-chan," or "Little Cherry Pit," is set to hit Chinese theatres this Friday in a movie adaptation.

"Chibi Maruko-chan – A Boy from Italy" is a story told from the perspective of a young girl from Japan nicknamed "Maruko-chan" making six new friends.

The diverse group, hailing from Italy, China, India, Brazil and the US, travel to Japan on home-stay trips with "Maruko-chan."

"Chibi Maruko-chan" is based on the manga of the same name by Momoko Sakura, which have become wildly popular in Japan and other parts of Asia.

It began as a semi-autobiographical manga series by Momoko Sakura in "Ribon," a shojo manga magazine, back in 1986. 

Those stories center around Maruko-chan and her everyday adventures during the 1970s in Japan.

Momoko Sakura also penned the script for this new film, which has been produced to coincide with the 25th anniversary of the launch of the original TV series.

Source: CRI

Low-budget Chinese science fiction film on the horizon

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(China Daily) Most people take it for granted that making a science fiction film must be expensive because of its digital effects.

But Tencent Pictures, the film arm of internet giant Tencent, recently said it is exploring the possibility of making a low-budget sci-fi movie.

Titled Path Finder, the forthcoming flick features in the latest lineup of 21 movies and television series to be made or co-developed by Tencent Pictures.

A Chinese twist on the Star Trek franchise, the movie is based on its popular namesake online comic book, which follows a group of Chinese adventurers who explore space.

The book, which is still being updated online, has accumulated nearly 140 million clicks and has 9.1 points out of 10 on Ac.qq.com, Tencent's website specializing in comics.

Film critic-turned-newbie director Zhang Xiaobei says his maiden work has a budget of a few million yuan-a fraction of a typical Hollywood sci-fi movie.

A sci-fi fan since childhood, Zhang, 41, has always been fascinated by Star Wars and also loves Alien and Blade Runner.

A key issue for the director is whether he can find a Chinese way to make sci-fi movies.

Hollywood has a long history when it comes to such films, but the genre has developed mainly during the past decade in China.

A widely held view is that Chinese filmmakers do not have the appropriate technology or the budgets to make such movies.

"So, the solution is to explore a new way-unlike the formula typically followed by Hollywood," says Zhang.

He says Path Finder will stress roles, emotional bonds and the characters' humanity.

"Emotions, such as fear and love, are universal and appeal to audiences regardless of nationality or language," he says.

The script has just been revised and digital sets are being worked on. Filming is expected to start early next year.

Path Finder, incidentally, is not the only low-budget Chinese sci-fi film on the way.

Award-winning director Lu Chuan, who rose to prominence with Keh Xil: Mountain Patrol, has teamed up with Tencent Pictures on 20,000 Miles Plan.

The film, which was also one of the projects listed on Sept 17, is part sci-fi, and is inspired by Lu's years working in a supernatural-phenomenon-research organization, a source says.

Meanwhile, although it is too early to predict how this new approach with regard to sci-fi will work, this time Tencent Pictures is putting emphasis on originality.

The biggest investment when it comes to making movies is patience, says Cheng Wu, vice-president of Tencent and CEO of Tencent Pictures.

"The Chinese movie industry is already at a new level. By being brave, exploring experimental forms and providing an opportunity to those outside the charmed circle, we will create more possibilities," he says.

Separately, other upcoming productions that are garnering interest are the coming-of-age thriller Blood of Youth, which is akin to documentary horror film Zhong Xie (Haunted); the animated remake of The Snow Child; Tuzki (based on a popular rabbit character) and the TV series Fighter of Destiny.

Fighter of Destiny, featuring actor Lu Han, has a budget of 400 million yuan ($60 million).

The Tencent list of upcoming films also includes some international coproductions.

Japanese filmmaker Takashige Ichise, who's known for The Grudge, will work with Tencent Pictures to produce Koseidon, a cinematic remake of the popular Japanese TV series Dinosaur Corps Koseidon.

Among the other collaborations is the monster epic Kong: Skull Island, slated for release in March 2017.

Source: China Daily by Xu Fan

Chinese film industry eyes quality growth: official

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(Xinhua) China's film industry increasingly values the quality of films instead of pure box office, said a film official on Wednesday.

The country's box office in 2016 had exceeded 30 billion yuan ($4.5 billion) as of early August, but the year-on-year growth slowed slightly, said Zhang Hong, Communist Party chief of the China Film Association in Tangshan, Hebei province.

This reflected the film sector shifting to quality films and the regularization of market, he said at the opening of the 25th China Golden Rooster & Hundred Flowers Film Festival.

A more healthy and prosperous Chinese film market is much anticipated, said Zhang, director of the organizing committee of the major film award event in China.

Last year, China produced 686 films and the total box office reached 44 billion yuan, according to Zhang.

The four-day event includes screenings of films from home and abroad, film forums and an awards ceremony.

Source: Xinhua

Chinese Audiences Want Superhero Films to Stop Pandering and Give Chinese Actors Real Roles

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(Epic Stream) China is a huge market for blockbuster movies, to the point where a movie's worldwide success is practically dependent on success in China. As a result, many mainstream blockbusters have done various things to pander to China and Chinese audiences have started to feel a little insulted by this,The Wall Street Journal reports. There has started to be a push for superhero movies to stop putting a token Chinese actor in the movies for two seconds to appeal to the Chinese market and instead give Chinese actors real, substantial roles if they're going to be included.

One thing that's being focused on is the appearances of famous Chinese actress Fan Bingbing in recent Marvel movies. In Iron Man 3, BingBing actually only showed up in the version of the movie released to Chinese audiences, while she was cut out of the movie released to the rest of the world. 

Reportedly, Beijing Daily, a state-run Chinese newspaper, called this "quite embarrassing". 

BingBing also showed up in X-Men: Days of Future Past. At least this time she was in the worldwide release, but she still got a a very small part where she only spoke one line. This has gotten to the point where Chinese audiences have come up with a nickname for the Chinese characters who have no characterization or role in movies other than being a transparent attempt to appeal to the Chinese market- "flower vases". The implication here is that these Chinese characters are nothing more than decoration.

Qui Jie, an executive of a Chinese studio, told the Journal that the solution to this problem is simple- if movie want to add a Chinese character, they should give them a "meaningful and proper" role that actually, y'know, adds to the movie. "We understand that a Chinese character will not be a lead role in the film. But if you can at least do that, the local audiences will not criticize it," Jie concluded.

That sounds like a pretty reasonable request to me. It always feels pretty condescending and insulting when studios just add a character in an attempt to cash in on a certain audience without bothering to give them a role, personality, backstory or making them important to the plot. That's the definition of tokenism.  People can see through it and they'll get sick of it.

What do you think? Would you like to see more Chinese characters with actual roles? Do you feel the complaints are justified?

Source: Epic Stream by Caitlin Donovan

Cao Baoping’s latest crime drama plays around with the genre

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(Global Times) After his deep and dark crime film The Dead End last year, director Cao Baoping has been regarded as one of the "best domestic crime film directors." On the one hand, this is because Cao has been continuously delving deeper into this genre over the years, while on the other hand, this is because there are not many directors in China who have the ability to navigate such a sensitive topic as crime. It's also for these reasons that Cao's new film Cock and Bull (Chinese name: Zhui Xiong Zhe Ye) was so highly anticipated.

The film is Cao's most commercial film so far. Except for the part of the film in which Boss Ma and Brother Gui's greed for real estate drives them to hire some criminals to get rid of the competition, the story barely touches on social realities. This is in sharp contrast to Cao's previous works, such as The Glorious Fury and Einstein and Einstein's criticism on human nature, or The Dead End's questions concerning morale values.

Although still a crime film, Cock and Bull is nearly the opposite of The Dead End. The latter is deep and heavy while the former is happy and light-hearted. There is none of Cao's typical criticism or questioning, instead the film features a dark humor and style similar to Quentin Tarantino's use of multiple clues and dividing a movie up into different chapters. When this dark humor takes aim at a simple rural area instead of the urban concrete jungle, the local dialect and frank nature of the characters make this humor even funnier. 

In this pure dark comedy, the dialect of Yunnan Province (every chapter makes heavy use of local slang) and exaggerated body language (especially Zhang Yi's performance in the third chapter) provides lots of punch lines. But what really provides the best framework for comedy is the film's skillful multi-linear narrative. 

The story unfolds from the perspective of the three main characters over three chapters. It shows the funny side of a man who has been wronged, the man who wronged another good person and a person searching for a murderer while a murderer is looking for him. These three storylines run parallel to each other, but certain coincidences reveal connections between the characters. 

Those who expect a typical Cao film might be disappointed by Cock and Bull, as the "sublime words full of deep meaning" style that Cao is known for is gone from this film. Meanwhile, those who are already familiar with the style of directors Quentin Tarantino and Guy Ritchie, the film's multi-linear narration is nothing new. 

Because of the tough censorship directed towards topics about crime, Cao's original story, which had a certain amount of social criticism, had to be adapted into a comedy. Yet despite this change to a more humorous approach, Cao continues to make use of highly realistic cinematography and his smart narration skills to present a rich story. 

For the domestic film industry, such a sharp mind and skillful ability are very precious.

Source: Global Times by Yuan Dengyu

High-tech view of Ang Lee's film available in Beijing

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Beijing finally has a theater to show Ang Lee's groundbreaking new film "Billy Lynn's Long Halftime Walk," but most of the potential audience will not be able to witness this visual miracle.

The Bona Cinema in U Town Mall, in eastern Beijing’s Chaoyang District, is upgrading the equipment in one of its theaters so as to be able to show the original high-definition film. The price is not known but audiences may have to line up a long time to get one admission ticket.

"Billy Lynn" is the first full-length narrative film shot in 4K, native 3D at the ultra high rate of 120 frames-per-second. A theater must be specially equipped with the technology to screen the innovative feature in its intended format.

A presentation of an 11-minute sequence from the film in its native format was a hit at the National Association of Broadcasters trade show in Las Vegas in April, when the Las Vegas Review-Journal's Christopher Lawrence wrote: "In a nutshell, the higher the frame rate, the closer an image looks to real life. During Saturday's demonstration, the depth of field was staggering, almost as though the back of the screen had opened up. Actors often seemed to emerge from the screen, hologram style. 

Co-star Vin Diesel never looked more lifelike."

However, most Chinese audiences currently have little chance to see the novel format due to the high demands of special equipment.

Lee said in an interview with Taiwanese media in early September that the film had humbled him as a veteran filmmaker. "The filming process was extremely painful," Lee said, "it was the unprecedent filming experience and we had to deal with issues in unexpected areas with no precedents to follow."

"Billy Lynn's Long Halftime Walk" is based on Ben Fountain's 2012 novel. The story follows a young soldier, Billy (Joe Alwyn), who is brought to a Dallas Cowboys game where he and other members of his Army unit will be honored for their service. Vin Diesel, Garrett Hedlund, Kristen Stewart, Steve Martin, and Chris Tucker are among the large prestigious cast.

Lee said he would use the same format and scale for his next film, "Thrilla in Manila," about the third and final chapter in the boxing confrontation between the late Muhammad Ali and Joe Frazier.

The world premiere of "Billy Lynn" is set for the New York Film Festival on Oct. 14 and will be screened nationwide in the United States and other international markets from Nov. 11. The Chinese release date has yet to be set.

Source: china.org by zhang rui

Chen Yao poses for fashion magazine

Street shots of Gao Yuanyuan

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Actress Gao Yuanyuan


Source: Xinhua
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