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8 episodes with Ann Hui
8 episodes with Ann Hui
6 episodes with Ann Hui
4 episodes with Ann Hui
3 episodes with Ann Hui
2 episodes with Ann Hui
3 episodes with Ann Hui
2 episodes with Ann Hui
2 episodes with Ann Hui
Émission bilan, diasporas et identités. Pour savoir regarder un ciel étoilé, tendre les mains à son destin. Vouloir plus fort, encore demain. Partir un jour sans retour, effacer notre amour, sans se retourner, ne pas regretter, garder les instants qu'on a volés.Dispo itou on da tube :Au programme cette semaine :* Coffret An Autumn's Tale / The Illegal Immigrant, de Mabel Cheung édité chez Spectrum.* Septet : The Story of Hong Kong, film anthologique réalisé par Ann Hui, Sammo Hung, Tsui Hark, Patrick Tam, Ringo Lam, Johnnie To, Yuen Woo-Ping* la ressortie en BR chez Spectrum de Shanghai Blues réalisé par THRTW.______PUBLIC SERVICE ANNOUNCEMENT: Le Film du Dimanche Soir, dimanche 08 juin, LE MEILLEUR FILM DU MONDE.______Coups de cœur:THOMAS: Ela Veezha Poonchira (Shahi Kabir) + Les Gaspards (Pierre Tchernia)THIBAUT: Volver (Almodovar)PLAYLISTPrégénérique / Extrait Le ClanLowell Lo / An Autumns TaleJames Wong & Sally Yeh / Shanghai Blues
For 180 years, The Globe and Mail has covered the biggest issues and events in Canada. To commemorate its history, editor John Ibbitson and more than two dozen Globe and Mail journalists dug into the archives to answer the question: “how did the Globe's coverage intersect with Canada and influence its story?”. The answer to that question can be found in the new book, ‘A Nation's Paper: The Globe and Mail in the Life of Canada.Menaka Raman-Wilms hosted a panel discussion in front of a live audience with Ibbitson and Globe reporters Ann Hui and Kelly Grant about the essays they wrote, the times the Globe was ahead of the curve and the instances where the paper got it wrong.Questions? Comments? Ideas? Email us at thedecibel@globeandmail.com
The Secret (1979) / Lone Star (1996) This week we're looking for clues as we try to solve a southern fried cold case with John Sayles and get to the bottom of a shocking murder with Ann Hui
Elwood and Stephen look at Ann Hui's horror comedy Visible Secret in which Peter an unemployed hair dresser, meets nurse June only for eerie events begin to begin to take place as June reveals to Peter that she is able to see ghosts. Buy us a coffee and support the show - https://ko-fi.com/acfilmclub Check out our sponsor: Yes Please Vintage
Millennial women are feeling burnt out.The responsibilities and pressures of family, work and caregiving are piling up, amidst the lingering fallout of the pandemic and the economic crisis. But what makes this generation's burnout unique to generations before it?The Globe and Mail's demographics reporter Ann Hui, explains her own experience with burnout, the reasons why millennial women are feeling it more and how it can be made better.This episode originally aired on March 15, 2024.Questions? Comments? Ideas? E-mail us at thedecibel@globeandmail.com
Over the last few years, a movement has grown where followers are spending thousands of dollars on rigorous and sometimes extreme health practices with the goal of extending their lives. The leaders of the “longevity” movement reach their mostly male audience largely through YouTube and podcasts.Longevity has become a major wellness industry, with big money involved. But critics say the science behind it is often unfounded and misleading. The Globe's demographics reporter Ann Hui spoke to the men who practice longevity, those who preach it, and those who criticize it.Questions? Comments? Ideas? Email us at thedecibel@globeandmail.com
A bonus episode for Lately listeners, from the team at The Decibel! Millennial women are feeling burnt out. The responsibilities and pressures of family, work and caregiving are piling up, amidst the lingering fallout of the pandemic and the economic crisis. But what makes this generation's burnout unique?In conversation with host Menaka Raman-Wilms, The Globe and Mail's demographics reporter, Ann Hui, explains her own experience with burnout, the reasons why millennial women are feeling it more and what to do about it.The Decibel is The Globe and Mail's daily news podcast, exploring the stories that shape our world. Lately will be back in the feed next, and every, Friday. Questions? Comments? Ideas? E-mail thedecibel@globeandmail.com
Millennial women are feeling burnt out.The responsibilities and pressures of family, work and caregiving are piling up, amidst the lingering fallout of the pandemic and the economic crisis. But what makes this generation's burnout unique to generations before it?The Globe and Mail's demographics reporter Ann Hui, explains her own experience with burnout, the reasons why millennial women are feeling it more and how it can be made better.Questions? Comments? Ideas? E-mail us at thedecibel@globeandmail.com
Free For All Friday - Hour 1 Host Amanda Galbraith breaks down the biggest stories of the day with Canada's top newsmakers. On today's show: · Michael Geist, Professor of Law at University of Ottawa, Canada Research Chair in Internet and E-Commerce Law on the U.S. House passes bill that could ban TikTok. · Ann Hui, The Globe and Mail's demographics reporter on her recent opinion piece ‘Exhausted, burnt-out and disillusioned: Why millennial women are not okay' · Afua Hagan, CTV royal commentator on Kate Middleton conspiracy theories run wild, here's how the story became such a royal mess Free For All Friday - Hour 2 Hosts from all over the country join the roundtable to discuss the five biggest stories of the week. This week's show features panelists Carlene Variyan, Associate Vice-President of Summa Strategies and Melanie Paradis, Conservative strategist and former senior staffer to Erin O'Toole, and President of Texture Communications. Topic 1: Premiers call on Trudeau to cancel spring carbon tax increase Topic 2: U.S. House passes bill that could ban TikTok if owner refuses to sell Topic 3: Exhausted, burnt-out and disillusioned: Why millennial women are not okay Topic 4: 'It's going to be crazy:' Niagara Falls mayor says city preparing for up to 1 million visitors for solar eclipse Topic 5: As 'where's Kate' conspiracy theories run wild, here's how the story became such a royal mess
James and Andy look back on Ann Hui's unsung ghost comedy Visible Secret, newly released by Radiance Films and screening in London, as well as more Hong Kong horror in the form of new cinema release Back Home. This episode's handy timecodes 00:35 - Introduction 01:38 - Visible Secret introduction 06:40 - Great talent in front and behind the camera 14:09 - The plot 16:57 - Lost in the crowd - why was it overlooked? 36:20 - Back Home 44:51 - Outro
Could your next favourite foods be created by a robot? While artificial intelligence has long been used in the production and assembly lines of food, some companies are now turning to AI to create new kinds of food, recipes and combinations that the human brain hasn't conceived of before.Ann Hui, the Globe's demographics reporter and former food reporter, joins the show to talk about this new frontier of food creation and the vital question of: does it taste good?Questions? Comments? Ideas? Email us at thedecibel@globeandmail.com
Have you ever wondered what makes food appealing? What senses are activated when we taste something? This week we welcome, Marie Fitrion, food writer and program manager at Foodpreneur Lab; Ann Hui, Globe and Mail food writer and author of "Chop Suey Nation;" Joshna Maharaj, chef and author of "Take Back the Tray;" and Joseph Shawana, chef at ddcx Indigenous Kitchen on Manitoulin Island. Tonight, they discuss what goes into developing a palate and why people prefer the taste of some things more than others.See omnystudio.com/listener for privacy information.
As Cannes wraps up in the South of France, we bring you a dispatch from another festival halfway across the world. An exhausted Wilson joined Ben and Eli in the middle of his festival marathon to dish about the movies he saw at this year's Hong Kong International Film Festival, and talk about the experience of officially covering a festival for the podcast for the first time! Includes interviews with top Hong Kong directors Soi Cheang and Ann Hui. Films/Sections Previewed: A City of Sadness (4K Restoration) - dir. Hou Hsiao Hsien Plan 75 - dir. Chie Hayakawa Juzo Itami Retrospective New Blood - dir. Soi Cheang Egoist - dir. Daishi Matsunaga Stars at Noon - dir. Claire Denis Sparta - dir. Ulrich Seidl Our Body - dir. Claire Simon Saint Omer - dir. Alice Diop A Still Small Voice - dir. Luke Lorentzen A Holy Family - dir. Elvis Lu in water - dir. Hong Sang Soo Tótem - dir. Lila Avilés Dust of Angels (4K Restoration) - dir. Hsu Hsiao-ming What festival should we cover next? Let us know in our Discord server! Keep up with Deep Cut on Instagram, Facebook, and Letterboxd.
Ann Hui, author of Chop Suey Nation, a book about Chinese restaurants across Canada, talks about the closure of a long running Asian restaurant in St. John's and the opening of other restaurants run by newer Canadians
Growing up in Vancouver as the child of immigrants from China and Hong Kong, journalist Ann Hui had a very specific idea of what so-called authentic Chinese food was. “We would go eat in Chinatown. We would have wonton noodles, we would have dim sum, you know, really elaborate banquets. There were so many different ways of eating Chinese food, in my understanding of that kind of cuisine,” Ann tells host Tina Pittaway in the season premiere of season four of Countless Journeys. But on the occasions that Ann got outside of the urban setting of Vancouver, she was fascinated by the small town Chinese restaurants that are common across the country. “There would always be that one restaurant on the main street. It was always called Fortune something or Garden or Panda or Jade, something.” Similar in décor, and with menu items that were a mystery to Ann – things like moo goo gai pan, chicken balls, and almond chicken, dishes that were created for local tastes – she wanted to learn why, in pre-internet days, so many of these restaurants were so similar to one another. So when Ann was hired as a food writer for the Globe and Mail back in 2016, she set out on a road trip that took her from Victoria to Fogo Island in search of answers. Her series eventually became the subject of her book, Chop Suey Nation: The Legion Café and Other Stories from Canada's Chinese Restaurants. Part personal memoir, and part cultural history, Ann shares not only the stories of the people who own these businesses, but also the stories of the historical forces that in part led to these Chinese restaurants' creation, including an infamous piece of legislation, commonly referred to as the Chinese Exclusion Act, which became law 100 years ago in 1923. Countless Journeys is brought to you by the Canadian Museum of Immigration at Pier 21, located at the Halifax Seaport.
Interview with film music composer Anthony Chue (褚鎮東). We chatted about the opportunities and industry practices for film music composition in Hong Kong, followed by some more in-depth discussion of Chue's style in the movies Divergence 三岔口 (2005, dir. Benny Chan) and All About Love 得閒炒飯 (2010, dir. Ann Hui). He also discussed how working in films influenced his work in Cantopop. Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments Powered by Firstory Hosting
After a series of on-set injuries, Michelle Yeoh slowed down a bit and took on a more dramatic role in 1996, one that closely reflected her own life working in the Hong Kong film industry - and in the process, she actually suffered her worst injury yet. It's time to talk Ann Hui's THE STUNT WOMAN!
Canadians have already seen the cost of groceries grow by over 10 per cent this year, and costs are expected to keep rising. A bag of the humble romaine lettuce can cost as much as $13. Now, experts are projecting that food costs for the average Canadian family will go up by $1,000 in 2023.This week, the Committee of Agriculture held a hearing with representatives from major grocery retailers to discuss why prices are so high right now. Food reporter Ann Hui breaks down what we learned about the confluence of factors that are making grocery bills so hefty.Questions? Comments? Ideas? E-mail us at thedecibel@globeandmail.com
Chow Yun-fat appears in one of his first dramatic roles, for emerging director Ann Hui. With Kenny B and Kevin Ma of the East Screen West Screen podcast. Contact theContinue readingPodcast On Fire 324: The Story Of Woo Viet
Chow Yun-fat appears in one of his first dramatic roles, for emerging director Ann Hui. With Kenny B and Kevin Ma of the East Screen West Screen podcast. Contact the show via email at podcastonfire at googlemail.com, on our Facebook page and Facebook group or Twitter (@podcastonfire, @sogoodreviews) and SUBSCRIBE to our iTunes feed. Music courtesy of Brian Kirby. Running Times: 00m 00s – … Podcast On Fire 324: The Story Of Woo Viet Read More »
We continue our exploration of Ann Hui's career with her coming-of-age memoir Song of the Exile. We discuss the complex formation of the HongKonger identity in the film, and how that has only gained relevance in the decades since the movie's release. Movies mentioned: Song of the Exile《客途秋恨》 Keep Rolling《好好拍電影》 Love in the Fallen City《傾城之戀》 Boat People《投奔怒海》 The Romance of Book and Sword《書劍恩仇錄》 Summer Snow《女人，四十》 Yi Yi《一一》 Hill of No Return《無言的山丘》 Dust in the Wind《戀戀風塵》 Happy Together《春光乍洩》 The Way We Are《天水圍的日與夜》 A Simple Life《桃姐》 Irma Vep Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments Powered by Firstory Hosting
Join us for a special episode in Cantonese for our reaction to Ann Hui's Love After Love (2020) immediately after our screening of the film! Films and TV shows mentioned: Love After Love《第一爐香》 Soul Mate《七月與安生》 Days of Being Wild《阿飛正傳》 Once Upon an Ordinary Girl《儂本多情》 Lust, Caution《色，戒》 In the Mood for Love《花樣年華》 Song of the Exile《客途秋恨》 Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments Powered by Firstory Hosting
We introduce you to Hong Kong On Screen and our podcast, dive into a brief history of the Hong Kong New Wave, and discuss Ann Hui's career-defining Boat People (1982). Films mentioned: Love After Love《第一爐香》 Father and Son《父子情》 Jumping Ash《跳灰》 The Butterfly Murders《蝶變》 The Secret《瘋劫》 Night and Fog (2009)《天水圍的夜與霧》 The Beast《山狗》 A Simple Life《桃姐》 Still Human《淪落人》 House of the Lute《慾火焚琴》 Ju Dou《菊豆》 Rouge《胭脂扣》 Center Stage《阮玲玉》 Night and Fog (1956) Man with a Movie Camera Song of the Exile《客途秋恨》 Ann Hui's “Vietnam Trilogy”: Boy from Vietnam〈來客〉 The Story of Woo Viet《胡越的故事》 Boat People《投奔怒海》 Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments Powered by Firstory Hosting
The Bitches are joined by Ann Hui, national food writer with the Globe & Mail and author of the book Chop Suey Nation: The Legion Cafe and Other Stories from Canada's Chinese Restaurants. You can buy Ann's book here. To access the full interview, become a paid subscriber at http://badandbitchy.com
It's episode 23 of Oll Obout Ovid!, the podcast dedicated to Ovid.tv, and this month B and Witney talk about three films they saw on the service (a 90s queer cyberpunk drama set in New York City, a tender end-of-life drama out of Hong Kong, and a quirky workplace musical also from Hong Kong), as well as a lot of other random stuff. We dunno, this episode's a casual one. We hope you enjoy, and thank you for your time.
We conclude our series on Hong Kong New Wave director Ann Hui and kick off a series on journalists with Hui's 1982 film ‘Boat People,' the film that really put her on the map. How does it work for us? Does it accurately portray journalists? And does that matter? Tune in to hear our thoughts!
We conclude our series on Hong Kong New Wave director Ann Hui and kick off a series on journalists with Hui's 1982 film ‘Boat People,' the film that really put her on the map. How does it work for us? Does it accurately portray journalists? And does that matter? Tune in to hear our thoughts!
Ann Hui had been working on a documentary for a Hong Kong network when she interviewed a number of ‘boat people,' people fleeing Vietnam from the rule of China. This piqued her curiosity in the subject and defined her next two films, The Story of Woo Viet and Boat People. This ‘Vietnam Trilogy' of hers, and particularly the last film, gave Ann Hui a boost in her career as it took off around the world, marking her as one of the Hong Kong New Wave directors. Join us – Pete Wright and Andy Nelson – as we close out our series on Hui as well as kick off a series on journalists with her 1982 film Boat People. Boat People gives us the blank slate reporter we've been looking for. There are many comments and reviews about this film that dislike the portrayal of the journalist as being too naïve. For us, it feels like a character choice and works well to set up the film as a journey for this photographer – our audience surrogate – as the layers are slowly peeled back to reveal what sort of atrocities are really going on in China-ruled Vietnam after the US left. Add to that exceptional child actor performances as the kids that connect with our photographer, not to mention the visceral violence that shakes us up, and it's easy to see why this film affects us. The cinematography, the music, the locations, the performances, the direction – everything works well to deliver a powerful film that depicts a unique conflict in this part of the world we learned little about in our history books. We have differing opinions on how well the film stuck with us, but no matter how you slice it, it was a film that affected us and worked well. We have a great conversation about it so check it out then tune in. The Next Reel – when the movie ends, our conversation begins! Join the conversation with movie lovers from around the world on The Next Reel's Discord channel! Film Sundries Learn more about supporting The Next Reel Film Podcast through your own membership. Find places to view this at JustWatch Theatrical trailer Poster artwork Flickchart Letterboxd
Ann Hui had been working on a documentary for a Hong Kong network when she interviewed a number of ‘boat people,' people fleeing Vietnam from the rule of China. This piqued her curiosity in the subject and defined her next two films, The Story of Woo Viet and Boat People. This ‘Vietnam Trilogy' of hers, and particularly the last film, gave Ann Hui a boost in her career as it took off around the world, marking her as one of the Hong Kong New Wave directors. Join us – Pete Wright and Andy Nelson – as we close out our series on Hui as well as kick off a series on journalists with her 1982 film Boat People. Boat People gives us the blank slate reporter we've been looking for. There are many comments and reviews about this film that dislike the portrayal of the journalist as being too naïve. For us, it feels like a character choice and works well to set up the film as a journey for this photographer – our audience surrogate – as the layers are slowly peeled back to reveal what sort of atrocities are really going on in China-ruled Vietnam after the US left. Add to that exceptional child actor performances as the kids that connect with our photographer, not to mention the visceral violence that shakes us up, and it's easy to see why this film affects us. The cinematography, the music, the locations, the performances, the direction – everything works well to deliver a powerful film that depicts a unique conflict in this part of the world we learned little about in our history books. We have differing opinions on how well the film stuck with us, but no matter how you slice it, it was a film that affected us and worked well. We have a great conversation about it so check it out then tune in. The Next Reel – when the movie ends, our conversation begins! Join the conversation with movie lovers from around the world on The Next Reel's Discord channel! Film Sundries Learn more about supporting The Next Reel Film Podcast through your own membership. Find places to view this at JustWatch Theatrical trailer Poster artwork Flickchart Letterboxd
We're continuing our series on Hong Kong New Wave director Ann Hui. In this episode, we discuss her 2017 war drama ‘Our Time Will Come.' How historical is it? What do we think of the documentary framing device? And what do we think overall? Tune in to find out!
We're continuing our series on Hong Kong New Wave director Ann Hui. In this episode, we discuss her 2017 war drama ‘Our Time Will Come.' How historical is it? What do we think of the documentary framing device? And what do we think overall? Tune in to find out!
As a filmmaker in Hong Kong, there's an inevitable balancing act they need to do with their stories and how they depict China. This story portrays an interesting element of World War II that wasn't often taught in Western history classes – the Japanese occupation of Hong Kong. Having it told from the Hong Kong perspective is also unique to us. That being said, the film was made to celebrate the 20th anniversary of Hong Kong's return to the fold of China. Does that affect the tone of the story? Join us – Pete Wright and Andy Nelson – as we continue our series on Hong Kong New Wave director Ann Hui with her 2017 film Our Time Will Come. The time has come to discuss Our Time Will Come. It's hard to not start our conversation with celebration of the fantastic delight we get from Eddie Peng as the revolutionary Blackie Lau. Every time he's on screen, it lights up. How does everyone else do? Honestly, lots of performances to celebrate, and when we're not celebrating Eddie Peng, it's Deannie Ip, Xun Zhou, Wallace Huo, or many of the other performers in the film. But does the story work? It works differently for each of us, and we debate why. Is it because our unfortunate lack of knowledge in the history in this part of the world during WWII? Or whether there should be a romance? Or if the story delivers enough tension in the action scenes and sequences? Or maybe the story never quite delivers? And why does the CG in the film look less than top notch? Regardless, it's an interesting film with characters we generally like that shows how simple school teachers and mothers can end up becoming spies. We have a great time in our conversation with the film. It's worth checking out, so do so then tune in. The Next Reel – when the movie ends, our conversation begins! Join the conversation with movie lovers from around the world on The Next Reel's Discord channel! Film Sundries Learn more about supporting The Next Reel Film Podcast through your own membership. Watch this on Apple or Amazon, or find other places at JustWatch Theatrical trailer Poster artwork Flickchart Letterboxd
As a filmmaker in Hong Kong, there's an inevitable balancing act they need to do with their stories and how they depict China. This story portrays an interesting element of World War II that wasn't often taught in Western history classes – the Japanese occupation of Hong Kong. Having it told from the Hong Kong perspective is also unique to us. That being said, the film was made to celebrate the 20th anniversary of Hong Kong's return to the fold of China. Does that affect the tone of the story? Join us – Pete Wright and Andy Nelson – as we continue our series on Hong Kong New Wave director Ann Hui with her 2017 film Our Time Will Come. The time has come to discuss Our Time Will Come. It's hard to not start our conversation with celebration of the fantastic delight we get from Eddie Peng as the revolutionary Blackie Lau. Every time he's on screen, it lights up. How does everyone else do? Honestly, lots of performances to celebrate, and when we're not celebrating Eddie Peng, it's Deannie Ip, Xun Zhou, Wallace Huo, or many of the other performers in the film. But does the story work? It works differently for each of us, and we debate why. Is it because our unfortunate lack of knowledge in the history in this part of the world during WWII? Or whether there should be a romance? Or if the story delivers enough tension in the action scenes and sequences? Or maybe the story never quite delivers? And why does the CG in the film look less than top notch? Regardless, it's an interesting film with characters we generally like that shows how simple school teachers and mothers can end up becoming spies. We have a great time in our conversation with the film. It's worth checking out, so do so then tune in. The Next Reel – when the movie ends, our conversation begins! Join the conversation with movie lovers from around the world on The Next Reel's Discord channel! Film Sundries Learn more about supporting The Next Reel Film Podcast through your own membership. Watch this on Apple or Amazon, or find other places at JustWatch Theatrical trailer Poster artwork Flickchart Letterboxd
INTRODUCCIONLa historia del cine chino se desarrolla en tres vertientes diferente: el cine de Hong Kong, el de China y el de Tawian.Esta diversificación del cine en China es debido a que muchos de los grandes creadores tuvieron que migrara desde Shanghai a la isla de Taiwan o Hong Kong, lugares en los que impusieron un estilo e impulsaron la industria del cine en la region.El cine de China se ha desarrollado despues de 1949 de una forma un tanto reprimida por el Partido Comunista de China y algunas de las peliculas aun son censuradas o prohibidas en el país.Han ganado espacio en el mercado internacional y se han convertido en una gran potencia cinematográfica a nivel mundial.Una de las obras clásicas es el relato chino sobre la mujer guerrera Hua Mulan (Mulan se une al ejercito) de 1939.LITERATURAComo hemos venido platicando en episodios pasados, la literatura es una forma en la cual podemos conoces las expresiones del horror más antiguo y generalmente, éstas vuelven a la pantalla cuando la tecnología se vuelve popular. Además, la literatura es un reflejo de los movimientos sociales y a su ves, es inspierada por la tradición oral y las leyendas urbanas. Me gustaría que antes de llegar al cine, conozcamos el horror chino por sus relatos de terror y su literatura.El escritor Pu Songling es el autor de horror que influenció más al género en China durante la Dinastía Qing.Durante su vida (1640-1715), Pu coleccionó y escribió cientos de historias sobrenaturales y publicó el libro Strange Tales from a Chinese Studio.Dichas historias con mostraban a demonios, fantasmas, monstruos e inspiraron a muchísimos directores de cine.Se dice que Pu compiló alrededor de 500 cuentos de terror. La antología, inicialmente iba a llamarse Cuentos de fantasmas y zorros y la primer versión fue publicada en 1767.Las historias eran “cuentos de lo extraño” que vendrían cayendo en la categoría del Weird Horror que conocemos hoy en día al menos 100 años antes de los grandes autores góticos como Poe.Los temas que cubría eran relacionados a la sociedad feudal y reflejaban los oficiales corruptos y las atrodicdades que vivían, pervirtiendo la justicias y terroizando a los aldeanos.FOLCLOREl folclor chino tiene una rica variedad de historias de fantasmas, monstruos y creaturas sobrenaturales.Según la creencia china, los fantasmas son generalmente malévolos y quieren causar daño a los vivos en caso de ser provocados.Se dice que muchas creencias de fantasmas chinas han sido adaptadas a mitologías y folclor de otros países asiáticos como Japón, Korea y Vietnam.Las creencias sobre fantasmas están fuertemente relacionadas a las adoración de ancestros, que posteriormente fue incorporada al Budismo (que nació en China).En China se creía que era posible contactar los espíritus de los fallecidos a través de un medium. Se pensaba que podían ayudar a los vivos si se les recompensaba correctamente.Anualmente, se celebra el Festival de Fantasmas Hambrientos, día en el cual se realizan rituales para honrar a los espíritus de los muertos (me recuerda al día de Muertos en México). En este día, los fantasmas y otras creaturas sobrenaturales emergen del inframundo y caminan junto a los vivos. Las familias prepaan alimentos y ofrendas y los colocan en altares dedicados a los familiares fallecidos. Incienso y dinero de papel se queman con la esperanza de que los espíritus protejan y traigan buena suerte a la familia.Trivia para ti Rael. La quema de dinero de papel es una tradición típica en China y se hace alusión a esta en un episodio de los X Files. ¿te acuerdas? El episodio de llama Hell Money y es la historia de la cultura china de fantasmas y el mercado negro de órganos.FantasmasEl término “fantasma” en chino se utliza en conjunto con otros símbolos para dar a luz a palabras como guilao que significa “hombre fantasma”, que a su vez en cantonés es un peyorativo del término “extranjeros”.Como aprendimos en Gremlins, otro término utilizado es “mogwai” que significa diablo.Otro término utilizaod con frecuencia es “yan” que singifica pesadilla.El InframundoYan Wang es el soberano del inframundo. También es el Juez del inframundo y decide si los muertos tendrán una fortuna buena o miserable.Yan Wang aparece en pinturas tanto Chinas como Japoneses vistiendo una capa de juez.Otro personaje Ilustre es Zhong Kui, el vencedor de fantasams y todo ser malvado. Su retrato se colgaba en las casas chinas al final del año lunar chino para asustar a las criaturas malignas, espíritus y demonios. Zhong Kui es el fantasma de un hombre que falló la prueba para volverse militar y debido a esto se suicidó. Es así que se convierte en un cazador de fantasmas.Intersecciones religiosasNo hay que olvidar que grandes corrientes filosóficas, así como religiosas provienen de China. El Confusionismo, Taoismo y el Budismo con las más prominentes y en éstas se adoraban a los acentros. Estas religiones, a diferencia del cristianismo, no creen en un Dios que creó todo, y en una vida después de la muerte. Más bien, comparten la idea que existe un orden y una jerarquía de valores que hay que respetar.Por ejemplo, el Ying y Yang que conocemos, el círculo que tiene la mitad negro y la otra blanco con un punto negro en el lado blanco y el punto blanco en el lado negro, buscan explicar esta relación de que nada es totalmente puro y que todo está conectado de alguna forma, que el mundo es dinámico y complementario.El taoismo enseña que todo individuo debe ser uno con el Tao. El tao es toda cosa existente en el mundo.El Budismo es la religión con mayor influencia en China. Éste a su vez incorpora partes del confusionismo y el taoismo. En breve, el budismo considera la existencia de múltiples dioses, fantasmas y el Reino Infernal. También creen en la reencarnación según el karma de cada individuo. El karma es una retribución basada en la ética de proporciónes causa-efecto.Tipos de Fantasmas Fantasmas Raros - Aquellos que fueron consumidos por el materialismo durante su vida y pueden transformarse en un objeto. Fantasmas sedientos - Consumidos por la lujuria y puedes generar vientos calientes y secos. Engañosos - causaron confusiones en vida y se pueden transformar en animales. Venenosos - eran odiosos hacia otras personas en vida y se pueden convertir en insectos venenosos. Pestilentos - albergaban envidias y causan enfermedad y decadencia Hambrientos - eran arrogantes y tienen formas de gas. Pesadillas - eran fraudes en vida y se convierten en oscuridad total. Goblin - estaban corruptos por su deseo de conocer más de la vida y se convierten en energía esencial entre rocas y árboles. Sirvientes - corrompidos por querer ser algo en la vida y se convierten en luz enceguecedora. Mensajeros - litigantes en vida y se convieren en otras personas. LEYENDAS URBANASEl misterioso caso de Hong Kong del Asesino de Hello KittyEn Mayo de 1999, una niña de 13 años fue a la policía para quejarse que una mujer que su novio había asesinado la acechaba. Le describió a la policía una mujer de 23 años que era torturada sin piedad mientras estaba atada con un cable, sin poder escapar. Cuando la policía fue al apartamento a buscar evidencia, encontraron una enorme muñeca Hello Kitty cuyo relleno era la cabeza de una mujer.Aparentemente, la mujer debía dinero al un bar, llevándola a su secuestro y desaparación hacía ya un año.El edificio embrujado en ShenzhenFantasmas vengativos desde hace décadas deambulan los pasillos del edificio de Zhongyin, en el corazón de Shenzhen. Se dice que dichos fantasmas datan desde los “días sangrientos de la revolución cultural” que se dio en los años 60s y 70s, ese lugar era usado como un sitio de ejecuciones. Buscando capitalizar el espacio, los inversionistas contratron a un especialista que les ayudó a enviar los fantasmas a un descanso digno. Así fue como hicieron dos torres enormes que simulan velas gigantes y cuyas ventanas de color rosa simulan pétalos.El monstruoso gusano mongol de la muerteSe rumara que en el Desierto de Gobi, habita el gusano de la muerte, una de las bestias más horribles y extrañas de China.Supuestamente, la criatura es de color rojo, del tamaño del brazo de un hombre, pero algunas personas dicen que la criatura puede crecen muchísimo más grande.También se le conoce como el gusano del intestino, por su semejanza a dicho órgano. Los locales le temen al gusano debido a su toxicidad y la habilidad de rociar el veneno desde lejos. Puede matar a un caballo o un camello sin problema.La leyenda del Pilar del Dragón de Shangai en Yan'anDesde que el camino elevado de Yan'an fue abierto al público a mediados de los 90s, una leyenda emerge en un lugar específico del camino, el lugar donde yace el pilar del dragón. El pilar además de ser enorme, está decorado con acabados metálicos, así como con nueve dragones de bronce. Cuando estaban construyendo este espacio, tuvieron multiples problemas con la excavación de lo que se convertiría en al base de la estatua. Para evitar más retrasos, le llamaron aun maestro del Fengshui, pero nadie pudo solucionar el problema. Después, un monje budista realizó una ceremonia religiosa en el sitio. Al finalizar, comendó a los arquitectos a cubrir con nueve dragones el sitio, pues era la tumba de un dragón guardián.La desaparición de 3,000 tropas en NanjingCuando alguien desaparece siempre deja un sentimiento extraño, pero ¿qué pasa cuando las desapariciones son en masa? Supuestamente en 1939, durante los horrores de las agresiones Japonesas contra la República de China en la segunda guerra Sino-Japonesa, alrededor de 3k soltados que estaban en un campamento en las colinas cerca de Nanjing desaparecieron sin dejar rastro.Las tropas vigilaban un puente con la intención de repeler las ataques japoneses en el río Yangtze. El coronel Li se despertó una mañana y su asistente le dijo que los soldados no respondían llamadas ni daban señal alguna. Un equipo fue a la búsqueda de las tropas y encontró un sitio completamente abandonado. No había señal de peleas, forcejeos, todo estaba aún en su lugar, con cañones listos para ser disparados, y gente de los alrededores dijeron que no vieron a nadie pasar durante la noche.BREVE HISTORIA DEL CINE CHINOEl cine fue introducido en China en 1896 y para el año 1905 se realiza la primera pelicula, una representación de La Batalla de Dingjunshan.Durante la siguiente década, las productoras fueron extranjeras y la industria cinematográfica de China no comenzó de forma independiente sino hasta 1916.La industria cinematografica comenzó a desarrollarse principalmente en Shanghai y ya para 1920 se habían creado compañías productoras importantes.Tras la victoria del Partido Comunista en la guerra civil y la fundación de La Republica Popular China en 1949, el gobierno vio en el cine una herramienta muy efectiva de propaganda asi como para la reconstrucción de la unidad nacional y la recuperación de orgullo nacional perdido.Durante la decada de los 50s la mayoría de las peliculas chinas eran sobre acontecimientos históricos, generalmente bélicos y con un enfoque patriótico.En los años sesenta la producción de cine fue bastante limitada, debido a la censura que se vivía. Prácticamente todas las peliculas anteriores a la revolución fueron prohibidas.Con la muerte del líder revolucionario Mao Zedong, en 1976 China y su cine comenzó un notable viraje, volvió a ser un medio de entretenimiento habitual y personal.Durante la época de 1990, estuvo marcada por la victoria de E.U. en la Guerra Fríanse, y el colapso de la Union Sovietica.En el año 2000 China ingresa a la Organización Mundial de Comercio y que ha convertido al país en la economía mas dinámica del mundo y al cine chino en una de las grandes potencias mundiales.El Tigre y el Dragon resulto multipremiada, incluyendo 4 Premios Oscar.¿QUÉ HAY DEL CINE DE HORROR?El cine de horror chino al igual que el Japonés y Coreano suele centrarse en historias de fantasmas debido a que su mitología comparte bastante debido a su a influencia en la antigüedad.Un ejemplo de ello es la primera cinta de terror japonesa que se remonta a 1910: Botan Doro, aunque originalmente se trata de una historia de fantasmas proveniente de China.Se incorporo a la literatura japonesa en 1666 trasladando la historia rural china al ya existente Tokio.Las historias de Pu Songling han sido adaptadas al cine desde 1922, aunque desde antes se generaron historias de fantasmas que incluían artes marciales, es dificil definir cuánto se creó la primer película de horror china.En 1934 salió The Body Snatchers, una película muda de Hong Kong sobre dos hombres que roban el ataúd de un hombre rico.Dos años más tarde, salió a la pantalla grande la primer película de Zombies llamada Midnight Vampire, que habla de la historia de venganza sobre un hombre que regresa de la tumba despés de ser asesinado por su hermano.Otras películas de horror de ésta época incluyen un ejército de esposas caníbales, científica malvada que crea enanos y gigantes y una manada de mujeres vampiro que terrorizan la ciudad.Por otro lado, en el resto de China - porque hay que distinguir entre Hong Kong y el resto de China debido a la historia que tienen, si hay personas que no están familiarizadas, Hong Kong permaneció como colonia inglesa por muchos años, incluso el idioma que utilizan es inglés y mandarín y en el resto de China es Cantonés-.Entonces, en el resto de China, el director con mayor influencia fue Ma-Xu Weibang. El hombre quedó huérfano cuando era tan solo un niño y realizó películas en los 30s como Walking with a Corpse in an Old House, Poet's Soul in the Cold Moonlight. También realizó una adaptación del Fantasma de la Ópera. El trabajo de Ma-Xu toca temas revolucionarios y oscuros, también utiliza visuales expresionistas. La adaptación llamada Song at Midnight tuvo una fuerte influencia en el género y cuenta la historia de Song, quien fue víctima de un hombre que le quemó la cara para evitar que le robara a la chica que le gustaba. Al ver la cara de su amado, la mujer se vuelve loca. Es una gran tragedia que ha tenido 4 remakes e incluso está en el top 100 de Películas chinas.Durante la segunda guerra Sino-Japonesa, las películas de horror chinas se volvieron escasas. Había mucha censura y debido a la brutalidad y violencia durante la guerra, la gente no estaba deseosa de ir al cine a ver más de esto.Ma-Xu sacó una secuela de Song at Midnight en 1941, seguida por Eternity, una película que era pro propaganda japonesa y esto le manchó su reputación en el país.Después de la guerra Ma-Xu se reubicó a Hong Kong y se considera que a partir de este momento, el género de horror en el cine se fue con él en China.Debido a los lineamientos estrictos de las autoridades comunistas en China, las películas de horror murió en el país.En 1960, Shaw Brothers Studio adaptó Pu's “A Ghost Story” a “The Enchanting Shadow” como una rendición gótica que luego daría a luz a la película a Chinese Ghost Story.Hacia los 70s, la mayoría de las películas involucraban fantasmas y los cuentos de Pu Songling, que eran amadas en Hong Kong. Incluso, el estudio Shaw se alió con la Hammer para hacer algunas películas como The Legend of the Seven Golden Vampires que era un mashup de Kung fu y vampiros occidentales. Una mezcla de Van Helsing y las artes marciales combatiendo contra un ejército de zombies.En esta década, Shaw Brothers Studios fueron quienes representaron al género y lo llevaron también hacia los 80s. Películas representativas son Black Magic y Hex, películas con una obsesión con lo oculto, la mezcla de fluídos corporales, maldiciones, magia e insectos espeluzanastes provinientes del sur de Asia eran elementos predominantes. Incluso para los estándares actuales, estas películas son bastante asquerosas. El horror centípedo de 1982 muestra a mujeres que vomítan cienpies que luego empiezan a comérselas. Corpse Mania muestra a un asesino serial necrófilo, del director Kuei Chih-Hung... quizá Kuei sería un equivalente a Takashi Miike en reputación, pues es considerado un transgresor que empuja a su audiencia a las escenas más perturbadoras y extrañas en las pantallas Hongkongesas.En 1983, la película The Boxer's Omen de Kuei es la epítome de su trabajo y además nos relata una historia extremadamente complicada que sigue creciendo y creciendo al punto que pierde sentido alguno.En Taiwan, que también debemos diferenciar de China y Hong Kong, es una isla que se considera la verdadera China y que se reusa a seguir las órdenes del gobierno en turno. La nobleza de dinastía pasada huyó a Taiwán esperando retomar el poder y ésto nunca sucedió, por esto siguen en la batalla constante por el poder.Desde esta isla, el rector Yao Feng-Pan se enfocó el lo tradicional y menos explícito. En particular se inspiró en el folclor chino y nuevamente, las historias de Pu Songling, realizando múltiples películas de fantasmas en los 70s y 80s. Es hasta este punto que el cine chino logra incorporar escenas sexuales y violencia gráfica, así como la utilización de mejores efectos especiales.Hay pocas peliculas de horror, o al menos comercialmente hablando en las epocas de los 80s y 90s pero con el BUM del horror asiatico, las producciones cinematograficas del genero de horror en China se incrementaron pero por alguna razon no son las mas exitosas como las Japonesas o Coreanas; ¿a que crees que se deba esto siendo China una importante potencia mundial en cine? Por muchos años, el cine chino y la barrera del lenguaje creo que propiciaron una gran barrera entre sus producciones y el mundo occidental. Por un lado, la gran cantidad de restricciones y censura, así como el nivel de la producción comparado al cine occidental generaban películas 1) fuera de la innovación y lo novedosa y 2) mayor costo en traducir y llevar al mercado occidental cine en el idioma inglés. Creo que es posible que al ser Hong Kong una colonia ingles ay el idioma principal fuese el inglés, la hiciera un puente de la cultura china hacia europa y américa. Por otro lado, las censura en Hong Kong era diferente pues no era gobernada por China, sino Inglaterra, logrando colaboracións con dicho país y logrando llegar a mercados nuevos. Además, después de varios conflictos bélicos internos y externos de China, vemos en los 70s y 80s la posibilidad de ir a estudiar al extranjero y al regresar, muchos directores traían nuevas experiencias, técnicas tanto en la dirección como edición de películas, que se tradujo en mejores producciones. A pesar de que Pu fue una gran influencia en el cine de horror, en los 80s, 90s se vino lo que llamaron “La Nueva Ola”. Es importante mencionar a dos directores, uno es Tsui Hark conocido como el Steven Spielberg de Asia, mejor conocido internacionalmente por su película Once Upon a Time in China, pero inició su carrera en el género del horror y thrillers. Su debut fue la película The Butterfly Murders en 1979 qye trata de un castillo que infestado por mariposas asesinas y un hombre que las controla a distnacia. Me recuerda un poco a Phenomena pero pues diferente insecto. Otra película es We're Going to Eat you de 1980, donde un detective llega a una aldea de caníbales. Ambas películas fueron bombas en la noche de apertura del cine. La tercer película de Tsui tuvo una recepción ligeramente buena, Dangerous Encounters of the First Kind, donde un grupo de adolecentes comienzan a matar a varias personas.Quien continuó haciendo ruido en el género fue Ann Hui, en 1979, realizó su debut con The Secret, un thriller psicológico que investiga los asesinatos de dos de sus amigos. El trabajo de Hui es conocido por la crítica social. La película The Secret está basada en hechos de la vida real.En los 80s, se viene una era de horror comedy chino. Mezclan temas de artes marciales y horror, metiendo temas ya conocidos y volviéndolos una burla. La película Encounters of the Spooky Kind es un ejemplo de éste movimiento y tuvo tanta fama que hasta llegó a Cannes.En 1985, vale la pena mencionar Mr. Vampire. La película fue un hit y ganó 12 nominaciones incluyendo mejor película. Estas películas no son muy conocidas en el Oeste.Tsui Hark produjo A Chinise Ghost story es una película romántica de horror comedia basada en las historias cortas de Strange Stories from a Chinese Studio. Tuvo mucho éxito en Hong Kong y otros países asiáticos, así como ganó múltiples premios. Esta película sí llegó a tener fama y reconocimiento en el Oeste. En esta película, utilizaron stop motion y animatronics que lograron unos efectos especiales increíbles. Se habla de unas escenas donde peleam con la lengua de un árbol demonio enorme.En los 90s se viene otra ola de horror enfocado en lo humano y menos horror supernatural. El cambio pudo ser motivado por la inclusión del sistema de clasificación de películas de 1988, donde la clasificación III era para adultos. Dicha categoría abrió las puertas a más cine de explotación y se vino una lluvia de películas de este tipo, donde se mezclaba contenido extremo, vilento y sin vergüenza.Es así como en 1988 podemos ver la película y la discutimos en el episodio del falso documental y estoy hablando de la película Men Behind the Sun. Una de las primeras películas clasificación III. Basada en la controversial unidad 721 del ejército japonés que hizo terribles experimentos “médicos” en civiles chinos. El director Mou Tun-fei fue tema por mucho tiempo no solo por el tema que se aborda, sino también, el uso de animales reales a´si como el cuerpo de un niño perteneciente a una autopsia. El director Mou llegó a recibir amenazas de muerte. Incluso cuando mostraron la película en China, las audiencias se desmayaron al verla y hubo 16 casos que terminaron en ataque cardiaco. ¿Has visto esta película Rael?Otra película clasificación III del 93 es The Untold Story de Herman Yau. En la película vemos una historia similar a la de Parasite, excepto que con un giro intencional. Un asesino mata a una familia, toma las riendas del restaurante y sirve a la familia a los comensales.Ebola Syndrome, es otra entrega interesante, tenemos a un asesino que se contagia de ébola y es inmune a la enfermedad. Sin embargo, la esparce por todo Hong Kong, muy adhoc a los contagios que hemos vivido en la pandemia, descontrolados.La segunda mitad de los 90s sufrió un decline en la industria del cine. De aquí vale la pena mencionar Bio Zombie que es un homenaje a Dawn of the Dead, sucede en un centro comercial y es una de las pocas pelícuals de horror chino que muestran a los zombi estilo americano.Inner Senses del 2002, narra la historia de Yan, una joven que ve gente muerta. Su psiquiatra Jim intenta convencerla de que no es algo real hasta que comienza a compartir el mismo martirio con ella.The Eye del 2002 forma parte de los clásicos del terror asiático que hasta tuvo remake estadounidense.Trata sobre la vida de Lee Sin-Je, una joven ciega que pasa a ver tras un transplante de ojos, el problema es que también ve fantasmasDumplings del 2004, trata sobre una actriz llamada Lee que se acerca a los 40s y considera que se ve avejentada.Su vida cambiara cuando conoce a la tia Mei, una mujer que hace dumplings rejuvenecedores.En 2005, The Ghost Inside fue producido por China Film Group y fue la película de horror más cara jamás filmada en China. Cuenta la historia de una madre que escapa un esposo abusivo y se va a vivir a un apartamento donde acechan los previos inquilinos: una mujer que aventó a su hija por la ventana para después suicidarse.Dream Home del 2010, narra la historia de Lai-Sheung una mujer infeliz con la carga de cuidar a su abuelo enfermo y a su hermano.Todo lo que quiere es tener su departamento. Para escapar de su deprimente vida, se le ocurre una forma despiadada de lograr su objetivo. (Slaher).Rigor Mortis del 2013 trata sobre un veterano actor de clásicas peliculas de terror y decide ponerle fin a su vida cuando una serie de eventos subrernaturales surgen para acecharlo.En 2016, la película The Possesed al estilo Blair Witch project tuvo una buena recepción de la crítica y Herman Yau sacó The Sleep Curse en 2017, una película de horror gore haciendo referencia a la hola de clasifiación III de los 90s.Notas GeneralesComo podemos ver, el cine de horror chino en su mayoría ha sido creado en Hong Kong y se ha visto un decline de producciones hoy en día debido a que se busca incluir a la audiencia China, por las implicaciones que tienen desde el punto de vista del negocio. Estamos hablando que Hong Kong es una ciudad de 7.5 millones de habitantes mientras que 1.5 billones de habitantes, 18.4% de la población mundial. Es lógico pensar que su interés es realizar películas para tal demógráfico que es por MUCHO, más grande que aquellos que hablan inglés (4.8% de la población mundial).Habiendo dicho esto, las películas en China todavía tienen altos niveles de censura: prohiben películas que promueven los cultos, supersticiones, así como escenas de desnudos y violencia.Sí han habido películas en China de horror despues de los 80s, pero estas terminan incluyendo lo sobre natural a través de halucinaciones o sueños.Créditos:Radio Horror es producido por Caro Arriaga y Rael Aguilar.Edición por Matías Beltrando desde Destek Soporte.Música Closing Theme Hounds of Love por Dan Luscombe (Intro)Insiders por Joe Crotty (Intro)Patchwork por Patchworker f.k.a. [friendzoned] (Spoilers)Nightlong por FSM Team (Outro)★ Support this podcast on Patreon ★
We continue exploring the films of Hong Kong filmmaker Ann Hui with her 1990 film ‘Song of the Exile' starring Maggie Cheung and Lu Hsiao-fen. It's a mother/daughter story that explores family history, family secrets, and finding connections, but does it work for us? Tune in to this episode to find out!
We continue exploring the films of Hong Kong filmmaker Ann Hui with her 1990 film ‘Song of the Exile' starring Maggie Cheung and Lu Hsiao-fen. It's a mother/daughter story that explores family history, family secrets, and finding connections, but does it work for us? Tune in to this episode to find out!
There are a lot of elements from Ann Hui's own life in her film Song of the Exile. It's not a biographical film, though. Knowing that, what are we meant to take away from it? Is it an exploration of Hui's own life? A chance for her to exorcise some demons from her youth? Or did she simply use those elements as a way to frame this story about a daughter slowly growing to know her own mother? Join us – Pete Wright and Andy Nelson – as we continue our Ann Hui series with her 1990 film Song of the Exile. We didn't find as much to connect within Song of the Exile. This was a frustrating film experience for us. There were interesting story elements throughout the film, but they never congealed to make a complete film for us. It's the story of a self-centered daughter who has to learn that her mother isn't just someone to hate but who is a person with their own life journey and baggage. It's the story of a mother who has to reconnect with her own past to find reconciliation and acknowledge that the life she's living now is actually pretty good. But could it be more clear? We think so. There are also elements of the East/West mentality throughout the film, though never completely clear with their intent. Is that simply because it was a Hong Kong film made at a time when China was getting close to taking over control of what was at the time a British colony? Or was there more here? That speaks to some of our overall difficulties with the film – we don't have a good understanding of the conflicts between China, Japan, and Manchuria, where some of this film takes place. Would more knowledge of that history have helped us? And would all of this work better for an audience from Hong Kong and the area? Despite all of that, Maggie Cheung and Lu Hsiao-fen work well as daughter and mother. But this feels like a film that gets lost in its telling. Is this the mother's story? The daughter's? All in all, there are a lot of interesting elements and it certainly is a film worth looking at. We just found it disappointing in the end, but plenty of people seem to love this film, so perhaps it's for you. So check out the movie then tune in to the episode! There is a lot to talk about in the film. The Next Reel – when the movie ends, our conversation begins! Join the conversation with movie lovers from around the world on The Next Reel's Discord channel! Film Sundries Learn more about supporting The Next Reel Film Podcast through your own membership. Watch this on YouTube Script Transcript Theatrical trailer Poster artwork Flickchart Letterboxd
There are a lot of elements from Ann Hui's own life in her film Song of the Exile. It's not a biographical film, though. Knowing that, what are we meant to take away from it? Is it an exploration of Hui's own life? A chance for her to exorcise some demons from her youth? Or did she simply use those elements as a way to frame this story about a daughter slowly growing to know her own mother? Join us – Pete Wright and Andy Nelson – as we continue our Ann Hui series with her 1990 film Song of the Exile. We didn't find as much to connect within Song of the Exile. This was a frustrating film experience for us. There were interesting story elements throughout the film, but they never congealed to make a complete film for us. It's the story of a self-centered daughter who has to learn that her mother isn't just someone to hate but who is a person with their own life journey and baggage. It's the story of a mother who has to reconnect with her own past to find reconciliation and acknowledge that the life she's living now is actually pretty good. But could it be more clear? We think so. There are also elements of the East/West mentality throughout the film, though never completely clear with their intent. Is that simply because it was a Hong Kong film made at a time when China was getting close to taking over control of what was at the time a British colony? Or was there more here? That speaks to some of our overall difficulties with the film – we don't have a good understanding of the conflicts between China, Japan, and Manchuria, where some of this film takes place. Would more knowledge of that history have helped us? And would all of this work better for an audience from Hong Kong and the area? Despite all of that, Maggie Cheung and Lu Hsiao-fen work well as daughter and mother. But this feels like a film that gets lost in its telling. Is this the mother's story? The daughter's? All in all, there are a lot of interesting elements and it certainly is a film worth looking at. We just found it disappointing in the end, but plenty of people seem to love this film, so perhaps it's for you. So check out the movie then tune in to the episode! There is a lot to talk about in the film. The Next Reel – when the movie ends, our conversation begins! Join the conversation with movie lovers from around the world on The Next Reel's Discord channel! Film Sundries Learn more about supporting The Next Reel Film Podcast through your own membership. Watch this on YouTube Script Transcript Theatrical trailer Poster artwork Flickchart Letterboxd
Andy and Pete continue our 10 Year Anniversaries series with an episode that's a crossover with our next series – a look at director Ann Hui. We're looking at her 2011 film ‘A Simple Life,' starring Andy Lau and Deannie Ip. It's a touching and quiet film about a maid and the young man who's family she's been working for nearly 60 years, and how their relationship evolves when she decides to retire to an old folks' home. The pace may not be for everyone, but we were both really touched by the film. Tune in to hear our conversation!
Andy and Pete continue our 10 Year Anniversaries series with an episode that's a crossover with our next series – a look at director Ann Hui. We're looking at her 2011 film ‘A Simple Life,' starring Andy Lau and Deannie Ip. It's a touching and quiet film about a maid and the young man who's family she's been working for nearly 60 years, and how their relationship evolves when she decides to retire to an old folks' home. The pace may not be for everyone, but we were both really touched by the film. Tune in to hear our conversation!
Ann Hui has had a long career and was close to retiring in 2011 when she made A Simple Life. Luckily, she enjoyed making that film so much and enjoyed its success that she decided to keep directing. The film is a quiet one about a maid who has served the same family for over 60 years, now looking after Roger, the son who has become a film producer. After a stroke, however, she decides to retire. And Roger has to now figure out how to take care of her. Join us – Pete Wright and Andy Nelson – as we continue our 10 Year Anniversary series with a crossover episode that is also the first entry in our Ann Hui series with her 2011 film A Simple Life. A Simple Life is a simple film, but emotionally rich. With Andy Lau as Roger and his real-life godmother Deannie Ip playing Ah Tao, his family's maid for generations, there is a built-in connection between these two actors. They feel real and feel like family. That being said, Lau does a great job at the start playing the workaholic who hardly even acknowledges her presence, except when he wants to request particular meals. He never has had to think of her as anything but the person who gets everything done for him. So when Ah Tao has a stroke and decides to retire to a nursing home, the story provides a strong opportunity for Roger to figure out how to fit caring for her into his own life. Lau plays it incredibly well, but part of the reason it works so well is because he's playing opposite Ip who shines in her role. It's a quiet film though. There isn't a lot of time for large, gregarious scenes. These two never make the film maudlin. It always feels even keel, even when we're left to wonder if we're supposed to be seeing the nursing home as an antagonistic force in her life. It never quite plays the way we think it would and that provides a bit of confusion for us, but largely it's fine. We have a great time with this film. It's touching in its quiet methodologies and carried by incredible performances. It's great to see it still works so well 10 years later, and it's a great film to kick off our Ann Hui series with. Check this film out then tune in! The Next Reel – when the movie ends, our conversation begins! Join the conversation with movie lovers from around the world on The Next Reel's Discord channel! Film Sundries Learn more about supporting The Next Reel Film Podcast through your own membership. Watch this on Apple or Amazon, or find other places at JustWatch Theatrical trailer Poster artwork Flickchart Letterboxd
Ann Hui has had a long career and was close to retiring in 2011 when she made A Simple Life. Luckily, she enjoyed making that film so much and enjoyed its success that she decided to keep directing. The film is a quiet one about a maid who has served the same family for over 60 years, now looking after Roger, the son who has become a film producer. After a stroke, however, she decides to retire. And Roger has to now figure out how to take care of her. Join us – Pete Wright and Andy Nelson – as we continue our 10 Year Anniversary series with a crossover episode that is also the first entry in our Ann Hui series with her 2011 film A Simple Life. A Simple Life is a simple film, but emotionally rich. With Andy Lau as Roger and his real-life godmother Deannie Ip playing Ah Tao, his family's maid for generations, there is a built-in connection between these two actors. They feel real and feel like family. That being said, Lau does a great job at the start playing the workaholic who hardly even acknowledges her presence, except when he wants to request particular meals. He never has had to think of her as anything but the person who gets everything done for him. So when Ah Tao has a stroke and decides to retire to a nursing home, the story provides a strong opportunity for Roger to figure out how to fit caring for her into his own life. Lau plays it incredibly well, but part of the reason it works so well is because he's playing opposite Ip who shines in her role. It's a quiet film though. There isn't a lot of time for large, gregarious scenes. These two never make the film maudlin. It always feels even keel, even when we're left to wonder if we're supposed to be seeing the nursing home as an antagonistic force in her life. It never quite plays the way we think it would and that provides a bit of confusion for us, but largely it's fine. We have a great time with this film. It's touching in its quiet methodologies and carried by incredible performances. It's great to see it still works so well 10 years later, and it's a great film to kick off our Ann Hui series with. Check this film out then tune in! The Next Reel – when the movie ends, our conversation begins! Join the conversation with movie lovers from around the world on The Next Reel's Discord channel! Film Sundries Learn more about supporting The Next Reel Film Podcast through your own membership. Watch this on Apple or Amazon, or find other places at JustWatch Theatrical trailer Poster artwork Flickchart Letterboxd
Regisseurinnen und ihre Meisterwerke werden nur sehr langsam sichtbarer, darum hat Lucas für diese Episode Anne Huis A SIMPLE LIFE (deutsch: TAO JIE – EIN EINFACHES LEBEN) ausgewählt. Anne Hui ist eine der wenigen großen Hongkong-Regisseurinnen, die bereits mit ihrem Debütfilm BOAT PEOPLE Aufsehen erregte. In SIMPLE LIFE werden wir in einem ruhigen und behutsam erzählten Film Zeuge einer gegenseitigen Loyalität und Solidarität: Ah Tao war sechzig Jahre lang Hauswirtschafterin und Kindermädchen der Familie Leung. In Hongkong geblieben ist von der Familie nur ihr Lieblings“kind“ Roger. Als Ah Tao (dargestellt von Deanie Ip) einen Schlaganfall bekommt, geht sie in den Ruhestand. Roger, ein Filmproduzent, sorgt für sie. Die beiden, die ein Verhältnis wie Mutter und Sohn haben, erhalten noch Zeit, in die Vergangenheit zu blicken, sich zu öffnen und ein Stück weit den Klassenunterschied aufzulösen. Aber als Ah Tao einen zweiten Schlaganfall hat, läuft ihre Zeit ab.Im Podcast werfen Lucas und Thomas auch einen Blick auf den dritten Hauptdarsteller: die alternde Stadt Hongkong, realistisch ins Bild gesetzt, verstaubt und ohne Neonlicht, sich melancholisch bewusst, dass der eigene Zenit weit überschritten ist. Roger (dargestellt von Andy Lau!) wird bezeichnenderweise mit einem Klimatechniker und einem Taxifahrer verwechselt – er arbeitet für eine Glitzerwelt, aber sie ist nicht Teil von ihm. Das Publikum lernt Ah Taos Mitbewohner im Altersheim kennen, sieht wie die hyperkapitalistische Konsumwelt mit TV-Kameras ins Altersheim eindringt und wieder verschwindet. Lucas und Thomas diskutieren die vielen wunderbaren Details, die Menschen, Gefühle und eine ganze Stadt für die Zuschauer:innen öffnet. Ein einfaches Leben. Ein sehr großer Film.
Emission assistance médicale, la Grand Histoire et l'amour fou. De la maladie à l'amour dans une ville déchue pendant 18 printemps, nous compterons nos nuits d'automne.Et on the tube itou.Au programme cette semaine: - Fils de Garches, documentaire de Rémi Gendarme-Cerquetti. - Deux sorties chez Spectrum Films de films de la grande Ann Hui, Eighteen Springs et Love in a fallen city.Le 10 octobre, le plus grand polar des 30 dernières années sur grand écran, proposé par nous-mêmes et Le Cinéma est mort. Immanquable !Coups de cœur:THOMAS: 120 Battements par minute (Robin Campillo)THIBAUT: le 2-0 du SRFRC contre le PSG ce dimanche, et la dernière édition de Paris - RoubaixDOC ERWAN: RIP Sonny Chiba (qui arrache les couilles, alors que Bruce Lee arrache les poils) & Melvin Van PeeblesPLAYLISTPrégénérique / Extrait Fils de GarchesRené Binamé / Non, non, rien n'a changéLes Clopes / Téléphone cellulaire
Show love and support: FPS/轉數快 ID: 164023863 Payme QRcode: http://bit.ly/247TalkPaymeQRcode Payme: http://bit.ly/247TalkPayme Paypal: http://bit.ly/247TalkPayPal 記得留低聯絡方法! 24/7TALK: Episode 80 ft. 文念中 Special guest: 文念中 Hosts: 24Herbs Filmed and edited: Pak Khei, Marco Mak, and Leo Chan Produced: 24HERBS and Studio8ight ---------------------------------------------------------------------------------------------------------- 今集247talk厲害呀！請嚟金像美術指導文念中同我哋傾吓戲經，電影行秘聞以及入行辛酸。事不宜遲即刻去片！睇之前提提大家記得癡嗱曬線CLSS COMMENT LIKE SHARE SUBSCRIBE. Thank you Man Lim Chung aka Man Sang, one of the most OG art directors in Hong Kong. He just directed his debut documentary with Ann Hui called Keep Rolling, if you love Hong Kong movies, this documentary is highly recommended. We are stoked to have him in this episode and glad to call him as friend, we need more people like Man Lim Chung in this industry. Check out the episode where he shared tons of experiences while making films! Love it. Thank you Man Sang! --------------------------------------------------------------------------------------------------------- 24/7Talk is now on Spotify, Apple Podcast, Google Podcast: Spotify Podcast: http://bit.ly/247Talk_SpotifyPodcast Apple Podcast: http://bit.ly/247Talk_ApplePodcast Google Podcast: http://bit.ly/247Talk_GooglePodcast Pls support and buy our music: https://itunes.apple.com/us/album/go-hard-single/id1260822753 https://itunes.apple.com/ca/artist/24herbs/id486419646 Instagrams: https://www.instagram.com/24Herbs_Official/ https://www.instagram.com/djkeepintouch https://www.instagram.com/phat24herbs https://www.instagram.com/eddie24herbs https://www.instagram.com/dudemakesbeats https://www.instagram.com/jbs8five2 https://www.instagram.com/djspyzitrix Facebook: http://www.facebook.com/24Herbs https://www.facebook.com/kittttt.leung https://www.facebook.com/phatchan https://www.facebook.com/GhostStyle https://www.facebook.com/jbrian.siswojo https://www.facebook.com/eddiechung https://www.facebook.com/deejayspyzi.trix Please subscribe here - https://www.youtube.com/c/24HERBS?sub_confirmation=1 ------------------------------------------------------------------------------------------------------- 留咗言而又被揀中嘅朋友請聯絡 247talkhk@gmail.com 領取獎品 -------------------------------------------------------------------------------------------------------
Show love and support: FPS/轉數快 ID: 164023863 Payme QRcode: http://bit.ly/247TalkPaymeQRcode Payme: http://bit.ly/247TalkPayme Paypal: http://bit.ly/247TalkPayPal 記得留低聯絡方法! 24/7TALK: Episode 80 ft. 文念中 Special guest: 文念中 Hosts: 24Herbs Filmed and edited: Pak Khei, Marco Mak, and Leo Chan Produced: 24HERBS and Studio8ight ---------------------------------------------------------------------------------------------------------- 今集247talk厲害呀！請嚟金像美術指導文念中同我哋傾吓戲經，電影行秘聞以及入行辛酸。事不宜遲即刻去片！睇之前提提大家記得癡嗱曬線CLSS COMMENT LIKE SHARE SUBSCRIBE. Thank you 😊 Man Lim Chung aka Man Sang, one of the most OG art directors in Hong Kong. He just directed his debut documentary with Ann Hui called Keep Rolling, if you love Hong Kong movies, this documentary is highly recommended. We are stoked to have him in this episode and glad to call him as friend, we need more people like Man Lim Chung in this industry. Check out the episode where he shared tons of experiences while making films! Love it. Thank you Man Sang! --------------------------------------------------------------------------------------------------------- 24/7Talk is now on Spotify, Apple Podcast, Google Podcast: Spotify Podcast: http://bit.ly/247Talk_SpotifyPodcast Apple Podcast: http://bit.ly/247Talk_ApplePodcast Google Podcast: http://bit.ly/247Talk_GooglePodcast Pls support and buy our music: https://itunes.apple.com/us/album/go-hard-single/id1260822753 https://itunes.apple.com/ca/artist/24herbs/id486419646 Instagrams: https://www.instagram.com/24Herbs_Official/ https://www.instagram.com/djkeepintouch https://www.instagram.com/phat24herbs https://www.instagram.com/eddie24herbs https://www.instagram.com/dudemakesbeats https://www.instagram.com/jbs8five2 https://www.instagram.com/djspyzitrix Facebook: http://www.facebook.com/24Herbs https://www.facebook.com/kittttt.leung https://www.facebook.com/phatchan https://www.facebook.com/GhostStyle https://www.facebook.com/jbrian.siswojo https://www.facebook.com/eddiechung https://www.facebook.com/deejayspyzi.trix Please subscribe here - https://www.youtube.com/c/24HERBS?sub_confirmation=1 ------------------------------------------------------------------------------------------------------- 留咗言而又被揀中嘅朋友請聯絡 247talkhk@gmail.com 領取獎品 -------------------------------------------------------------------------------------------------------
Women have been disproportionately impacted by the pandemic. Many have been forced to drop out of the workforce over the past year, with some people calling the COVID-19 economic downturn a she-cession. This downturn impacts racialised women even more. Journalist and author Ann Hui travelled across Canada, visiting Chinese restaurants in small towns from coast to coast to explore this issue, especially as it pertains to minority communities. Hui is a food journalist at The Globe and Mail and the author of Chop Suey Nation and she spoke at The Walrus Talks at Home: Shifting the She-cession Hosted on Acast. See acast.com/privacy for more information.
This episode is the online master series that took place on May 24th, 2020 - In Conversation with Mary Stephen, CCE. Born in Hong Kong and based in Paris, Mary Stephen has been working in narrative film and documentary for more than 30 years as an editor. Her work has been screened internationally at Venice, Cannes, and Tribeca film festivals. Known for her decades-long collaboration with French filmmaker Eric Rohmer, she has worked in Europe and Asia on numerous award-winning feature documentaries and fiction including Tiffany Hsiung's The Apology, Lixin Fan's Last Train Home, Li Yang's Blind Mountain, Ann Hui's Our Time Will Come and the upcoming Love After Love. This event was by moderated by Xi Feng.
O episódio de hoje é sobre a cineasta chinesa Ann Hui, considerada um dos grande nomes da New Wave de Hong Kong. A nossa conversa foca no filme Os Refugiados do Barco (Boat People, 1982), o terceiro filme da sua trilogia do Vietnã. Falamos sobre a relação entre Hong Kong e China na época da produção, a proximidade da diretora com o Vietnã, a acusação de ser um filme anti-comunista e a força das imagens nele presentes. O programa é apresentado por Isabel Wittmann, Camila Vieira e Kel Gomes. Mais informações: https://feitoporelas.com.br/feito-por-elas-123-ann-hui Feedback: contato@feitoporelas.com.br Pesquisa, pauta e roteiro: Isabel Wittmann, Camila Vieira e Kel Gomes Produção e edição: Isabel Wittmann Arte da capa: Amanda Menezes http://www.behance.net/tupiguarana Vinheta: Felipe Ayres Locução da vinheta: Deborah Garcia (deh.gbf@gmail.com) Música de encerramento: Bad Ideas - Silent Film Dark de Kevin MacLeod está licenciada sob uma licença Creative Commons Attribution (https://creativecommons.org/licenses/by/4.0/) Origem: http://incompetech.com/music/royalty-free/index.html?isrc=USUAN1100489 Artista: http://incompetech.com/ Assine nosso Padrim http://www.padrim.com.br/feitoporelas Assine nosso Patreon http://www.patreon.com/feitoporelas
Show love and support: FPS/轉數快 ID: 164023863 Payme QRcode: http://bit.ly/247TalkPaymeQRcode Payme: http://bit.ly/247TalkPayme Paypal: http://bit.ly/247TalkPayPal 記得留低聯絡方法! 24/7TALK: Episode 80 ft. 文念中 Special guest: 文念中 Hosts: 24Herbs Filmed and edited: Pak Khei, Marco Mak, and Leo Chan Produced: 24HERBS and Studio8ight ---------------------------------------------------------------------------------------------------------- 今集247talk厲害呀！請嚟金像美術指導文念中同我哋傾吓戲經，電影行秘聞以及入行辛酸。事不宜遲即刻去片！睇之前提提大家記得癡嗱曬線CLSS COMMENT LIKE SHARE SUBSCRIBE. Thank you Man Lim Chung aka Man Sang, one of the most OG art directors in Hong Kong. He just directed his debut documentary with Ann Hui called Keep Rolling, if you love Hong Kong movies, this documentary is highly recommended. We are stoked to have him in this episode and glad to call him as friend, we need more people like Man Lim Chung in this industry. Check out the episode where he shared tons of experiences while making films! Love it. Thank you Man Sang! --------------------------------------------------------------------------------------------------------- 24/7Talk is now on Spotify, Apple Podcast, Google Podcast: Spotify Podcast: http://bit.ly/247Talk_SpotifyPodcast Apple Podcast: http://bit.ly/247Talk_ApplePodcast Google Podcast: http://bit.ly/247Talk_GooglePodcast Pls support and buy our music: https://itunes.apple.com/us/album/go-hard-single/id1260822753 https://itunes.apple.com/ca/artist/24herbs/id486419646 Instagrams: https://www.instagram.com/24Herbs_Official/ https://www.instagram.com/djkeepintouch https://www.instagram.com/phat24herbs https://www.instagram.com/eddie24herbs https://www.instagram.com/dudemakesbeats https://www.instagram.com/jbs8five2 https://www.instagram.com/djspyzitrix Facebook: http://www.facebook.com/24Herbs https://www.facebook.com/kittttt.leung https://www.facebook.com/phatchan https://www.facebook.com/GhostStyle https://www.facebook.com/jbrian.siswojo https://www.facebook.com/eddiechung https://www.facebook.com/deejayspyzi.trix Please subscribe here - https://www.youtube.com/c/24HERBS?sub_confirmation=1 ------------------------------------------------------------------------------------------------------- 留咗言而又被揀中嘅朋友請聯絡 247talkhk@gmail.com 領取獎品 -------------------------------------------------------------------------------------------------------
A new film from one of this year's Golden Lion winners for Lifetime Achievement. The post Ann Hui – Love After Love #Venezia77 appeared first on Fred Film Radio.
A new film from one of this year's Golden Lion winners for Lifetime Achievement.Ann Hui – Love After Love #Venezia77 was first posted on September 16, 2020 at 9:06 pm.©2015 "Fred English Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm
A new film from one of this year's Golden Lion winners for Lifetime Achievement. The post Ann Hui – Love After Love #Venezia77 appeared first on Fred Film Radio.
A new film from one of this year's Golden Lion winners for Lifetime Achievement. The post Ann Hui – Love After Love #Venezia77 appeared first on Fred Film Radio.
A new film from one of this year's Golden Lion winners for Lifetime Achievement. The post Ann Hui – Love After Love #Venezia77 appeared first on Fred Film Radio.
A new film from one of this year's Golden Lion winners for Lifetime Achievement. The post Ann Hui – Love After Love #Venezia77 appeared first on Fred Film Radio.
A new film from one of this year's Golden Lion winners for Lifetime Achievement. The post Ann Hui – Love After Love #Venezia77 appeared first on Fred Film Radio.
Ottava puntata di copertura della 77ª Mostra internazionale d'arte cinematografica di Venezia. Contenuti: 00:00 - Love After Love (2020, Ann Hui) 05:20 - Wife of a Spy (2020, Kiyoshi Kurosawa) 13:57 - The Best is Yet to Come (2020, Jing Wang) 18:36 - 50 or Two Whales Meet at the Beach (2020, Jorge Cuchí) 22:25 - Le sorelle Macaluso (2020, Emma Dante) Partecipanti: Marco Ale Cosimo Logo creato da: Alessandro Valenti/Simone Malaspina Sigla e post-produzione a cura di: Simone Malaspina/Alessandro Valenti Per il jingle della sigla si ringraziano: Alessandro Corti e Gianluca Nardo
https://plus.badtaste.it ➡ Contenuti esclusivi, navigazione personalizzata e molto altro ti aspetta su BadTaste+. Da oggi, come lo vuoi tu Presentato fuori concorso alla 77esima edizione del Festival di Venezia, Di yi lu xiang (Love After Love) è un film di Ann Hui con Sandra Ma, Faye Yu, Eddie Peng, Ning Chang, Wei Fan, Isabella Leong.
Film: -Recent trend in Korean cinemas & impact of COVID-19 -Performance of "Peninsula" in Korean and Asian theaters -Venice Festival to honor Tilda Swinton, Hong Kong filmmaker Ann Hui -코로나19로 인한 한국 영화 관객 감소 -영화 "반도" 국내 및 아시아 지역 흥행 -배우 틸다 스윈튼과 감독 허안화, 베니스 국제영화제서 평생 공로상 Guet: Pierce Conran, Film critic
Podcast host, Ann Hui, is the first NUS Medicine student to have taken a gap year with the Yale-Visiting International Students Program before returning for her clinical years. Two juniors, Caitlin and Ying Ying embark on the same journey a year later. Amongst the three of them, they took a diverse set of classes which include medical anthropology, documentary film-making, engineering, and architecture. Now that they are back in Singapore, they share about their lessons at Yale and how they are applying or adapting what they have learned to Singapore's context to be better informed medical students and future doctors. They also reflect on their initial motivations for taking a year off medical school and offer some advice to fellow students who aspire to go beyond their calling in medicine.
Welcome to the Quarantine Edition of Write Reads! It’s very similar to our regular podcast but we do some talking about virus naming conventions, social distancing, self-isolating, and the like. But mainly we discuss this really excellent book about Chinese … Continue reading →
Cathy dials up Ann Hui, author of Chop Suey Nation, a history of Chinese Canadian food.Photo Courtesy of Douglas and McIntyre.Eat Your Words is powered by Simplecast.
This week on thr Pop Life Podcast: an in-depth interview with culinary legend Lidia Bastianich. The television host, author, and restaurateur stopped by the Pop Life bar to talk about how growing up on her grandparents' farm affected her relationship with food… how she ended up in New York City working with a soon to be very famous actor and what dish every household should know how to make. Later in the show the “Pop Life” panel, celebrity chef Selwyn Richards, foodie and television host Pay Chen and The Globe and Mail’s national food reporter Ann Hui, talk about the intersection of food and community.
On Episode 17, Lori talks to Ann Hui author of Chop Suey Nation and Jesse Lauzon from Springridge Farms. The holidays are upon us, Lori talks about festive dinners in traditional settings and last minute party tips for the holidays.
Allison and Karen get together to discuss their reading highlights as our home planet completes another arbitrary circuit around the sun. Books mentioned: > Chop Suey Nation by Ann Hui > Starlight by Richard Wagamese > The Tiger Flu by Larissa Lai > Fierce Femmes and Notorious Liars by Kai Cheng Thom > Trickster Drift by Eden Robinson > Disappearing Moon Cafe by SKY Lee > Kiss Quotient by Helen Hoang > Wedding Date by Jasmine Guillory > Prince on Paper by Alyssa Cole > The Hungry Ghosts by Shyam Selvadura > Rebent Sinner by Ivan Coyote > Little Blue Encyclopedia (for Vivian) by Hazel Jane Plante (illustrated by Onjana Yawnghwe) - Read this and join Allison for a book club discussion in January at Burnaby Public Library! Details here. > All That Matters by Wayson Choy We also talk about: > VPL's "What Do I Read Next?" and BPL's "Find Your Next Fiction Read" services > BookRiot's 2019 Read Harder Challenge > VPL's 2019 Book Bingo The transcript is available here. The cover art is done by our friend Andrea Lukic. You can reach us at: > Email: organizingideaspod [at] gmail [dot] com > Twitter: @OrganizingPod > Website: https://organizingideaspod.wordpress.com/ --- Send in a voice message: https://anchor.fm/organizing-ideas/message
This week on the Pop Life Podcast: We’ll meet Anne Hui who travelled from Victoria to Fogo Island to uncover the immigrant history – and vibrant present – of small-town Chinese-Canadian food for her book Chop Suey Nation. First though, we chat with the "Queen of Country Pop," Sania Twain. She has sold over 100 million records, making the Canadian born singer the best-selling female artist in country music history and one of the best-selling music artists of all time. In her Pop Life conversation we talked about going back to Las Vegas and her battle with stage fright.
This week on The Richard Crouse Show: Ann Hui is The Globe and Mail’s National Food Reporter and uses food as a lens to explore public policy, health, the environment, science and technology. Before she joined The Globe, her writing was published in the Walrus, the National Post, the Toronto Star and the Victoria Times Colonist. Her new book is Chop Suey Nation: The Legion Cafe and Other Stories from Canada’s Chinese Restaurants.
This week on the Richard Crouse Show Podcast: Ann Hui is The Globe and Mail's National Food Reporter and uses food as a lens to explore public policy, health, the environment, science and technology. Before she joined The Globe, her writing was published in the Walrus, the National Post, the Toronto Star and the Victoria Times Colonist. Her new book is Chop Suey Nation: The Legion Cafe and Other Stories from Canada's Chinese Restaurants. We'll learn how ginger beef, chicken balls and spare ribs are not authentically Chinese dishes… they're called Chop Suey cuisine, a North American invention, created by Asian immigrants all over our country. Part family memoir, part social history and part culinary narrative, Chop Suey Nation explores the Chinese restaurants of small-town Canada.
We discuss the career of Writer/Director Ann Hui and her films SONG OF THE EXILE, A SIMPLE LIFE and BOAT PEOPLE. Become a Patreon subscriber for $5 a month and get an exclusive episode every week! This week we discuss Adam Sandler's THAT'S MY BOY. www.patreon.com/theimportantcinemaclub If you have any questions or comments, feel free to drop us a line at importantcinemaclubpodcast@gmail.com
各位朋友，欢迎收听浏览加广中文台的周末网络广播节目, 我是方华。与我一起在播音室的有本台的吴薇和沈二。欢迎网友和听友们发表评论和看法，我们的电子信箱是China@rcinet.ca，我们的新浪微博是“加拿大国际广播-中文”；欢迎关注我们的网站 www.rcinet.ca，还有我们的Facebook 加拿大国际广播 – 加拿大国家中文频道；在每周五北美东部时间上午9点半，我们会有脸书直播Facebook Live;加广出品的加拿大新闻移动App已经可以在谷歌和苹果应用商店免费下载。 收听CH_Report_3-20190419-WRC30 在今天的节目里，我们谈谈这个星期我们节目中的几篇报道。 https://youtu.be/cDqaaW-1Yss 太容易上当：使用人工智能的安全隐患 CBC 如果开车的时候看到十字路口的停牌上有一张小小的贴纸，或者有一个被人随意涂抹的图案，你肯定知道那仍然是个停牌。但如果是无人驾驶车辆，停牌上出现的这点微小的变化就会让人工智能犯糊涂，把它认作减速标识或其他东西。结果当然就是这辆车无视停牌直接冲过去。吴薇报道 码农学院：先上学等有了工作再交学费 Jeannie Ly 说这种先上学再交学费的方式能早点推出就好了 / Laura MacNaughton/CBC 在数字化科技时代对码农的需求持续坚挺的情况下，不少加拿大年轻人想投身于高科技计算机编码领域，他们需要上学接受专门的培训，但高昂的学费却成为让许多人苦恼的问题。比如，上两个月的码农强化课要缴纳超过一万加元的学费，这不是随便什么人都拿得出来的金钱。方华报道 炒杂烩之国：加拿大中餐馆背后的华人移民史和家族史 (Amanda Palmer, Douglas & McIntyre) 一个刚到加拿大的华人，进了本地中餐馆多半会皱眉头：炒杂烩，甜酸肉，酱汁鸡球，这算是哪个菜系啊？在温哥华长大的《环球邮报》记者许平安（Ann Hui）每次在小城市的中餐馆吃饭时也有同样感想。2016年，许平安从BC省的维多利亚市启程，用了18天时间开车横跨加拿大，沿途走访中餐馆，一直去到大西洋岸边的圣约翰斯市。除了炒杂烩之谜以外，她还希望了解，为什么每个加拿大城市都有中餐馆？吴薇报道 商店：自带购物袋会加重行窃问题 Pixel-Shot/Shutterstock 随着环境保护意识越来越被社会大众所接受，加拿大许多城市通过法规禁止使用一次性购物塑料袋，顾客带着自己的购物袋进入商场、超市购物普遍化，而零售商店却为此感到头疼，因为盗窃问题明显严重起来。方华报道 以上是我们从加拿大国际广播电台一周的节目中为您选播的几篇报道，我们今天的节目就到这里，谢谢您的收听，希望听到您的看法和建议，祝您健康愉快，下次节目见！ 一周图片报道 window.jQuery || document.write('
In 2016, Globe and Mail reporter Ann Hui drove across Canada, from Victoria to Fogo Island, to write about small-town Chinese restaurants and the families who run them. It was only after the story was published that she discovered her own family could have been included—her parents had run their own Chinese restaurant, The Legion Cafe, before she was born. This discovery, and the realization that there was so much of her own history she didn't yet know, set her on a time-sensitive mission: to understand how, after generations living in a poverty-stricken area of Guangdong, China, her family had somehow wound up in Canada.Chop Suey Nation: The Legion Cafe and Other Stories from Canada's Chinese Restaurants weaves together Hui's own family history—from her grandfather's decision to leave behind a wife and newborn son for a new life, to her father's path from cooking in rural China to running some of the largest “Western” kitchens in Vancouver, to the unravelling of a closely guarded family secret—with the stories of dozens of Chinese restaurant owners from coast to coast. Along her trip, she meets a Chinese-restaurant owner/small-town mayor, the owner of a Chinese restaurant in a Thunder Bay curling rink, and the woman who runs a restaurant alone, 365 days a year, on the very remote Fogo Island. Hui also explores the fascinating history behind “chop suey” cuisine, detailing the invention of classics like “ginger beef” and “Newfoundland chow mein,” and other uniquely Canadian fare like the “Chinese pierogies” of Alberta. Guest: Ann Hui Author of CHOP SUEY NATION: The Legion Cafe and Other Stories from Canada's Chinese Restaurants Globe and Mail reporter
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Summary: "It's never over." This week we invite author Lindsay Wong on the podcast to talk about her celebrated memoir The Woo Woo, the classic film Joy Luck Club and the everlasting power of mothers. Also discussed: ghosts, superstitions and the Royal Family. Show notes: Lindsay Wong's website Lindsay Wong on Twitter The Woo-Woo by Lindsay Wong Jen Sookfong Lee's Year of the Pig horoscopes Joy Luck Club trailer Meet the Canada Reads 2019 contenders (CBC) Joe Zee Recommendations: Andrea: "Oh, Family" by Jenn Grant (music) Lisa: Halloween (film) Lindsay: Chop Suey Nation by Ann Hui (book) Music credits: "Flutterbee" by Podington Bear From Free Music Archive CC BY 3.0 Theme song "Pyro Flow" by Kevin Macleod From Incompetch CC BY 3.0 Intro bed:"OLPC" by Marco Raaphorst Courtesy of Free Music Archive CC BY-SA 3.0 NL Pop This! Links: Pop This! on TumblrPop This! on iTunes (please consider reviewing and rating us!) Pop This! on Stitcher (please consider reviewing and rating us!) Pop This! on Google PlayPop This! on TuneIn radioPop This! on TwitterPop This! on Instagram Logo design by Samantha Smith Pop This! is two women talking about pop culture. Lisa Christiansen is a broadcaster, journalist and longtime metal head. Andrea Warner is a music critic, author and former horoscopes columnist. Press play and come hang out with your two new best friends. Pop This! podcast is produced by Andrea Gin and recorded at the Vancouver Public Library's wonderful Inspiration Lab.
Episode notes:Two guests:1, Charles Lai - the link to Charles' blog where he lists all the art exhibition openings in Melbourne.http://charlesartlife.com2, Monique La Fontaine - http://www.moniquelafontaine.com.auThe exhibition mentioned by Charles in this episode:1, Cyrus Tang's solo exhibition titled 'Golden Hour'.17 April - 19 May. at Arcone Gallery. https://arcone.com.auThe list of films that Cyrus uses as the titles of her portrait photographs.To Live, 1994, directed by Zhang Yimou - https://en.wikipedia.org/wiki/To_Live_(1994_film)Ten Years, 2015 - https://en.wikipedia.org/wiki/Ten_Years_(2015_film)A Simple Life, 2011, directed by Ann Hui - https://en.wikipedia.org/wiki/A_Simple_LifeThe artist mentioned by Charles:David Rosetzky - http://davidrosetzky.comHis video work - Forever - http://davidrosetzky.com/work/heart-forever/His work 'Custom made' at Buxton Contemporary - https://buxtoncontemporary.com/exhibitions/the-shape-of-things-to-come/the artists in my comments:1, Angelica Mesiti - http://www.angelicamesiti.comher work Rapture, 2009. http://www.angelicamesiti.com/selectedworks/#/rapture/2, Gerhard Richter - https://www.gerhard-richter.com/en/The exhibitions that Monique mentioned:1, Kyneton Contemporary Triennial - http://kynetoncontemporary.comSarah Rudlege, 'Kyneton 6m50sec', - http://kynetoncontemporary.com/sarahrudledge/Elvis Richardson - http://kynetoncontemporary.com/elvisrichardson/Jessie Stanley - http://kynetoncontemporary.com/jessiestanley/Tom Borgas - http://kynetoncontemporary.com/tomborgas/Force field: https://en.wikipedia.org/wiki/Force_field_(physics)2, Dwelling Poetically: Mexico City, a case study21 April - 24 June, Australian Centre for Contemporary Arthttps://acca.melbourne/exhibition/dwelling-poetically-mexico-city-a-case-study/Host note:In this episode, Charles took us to the process of creation of Cyrus's new portrait works. The works are currently shown in her solo exhibition 'Golden Hour' at Arcone gallery. Charles did not only share his unique experience of being an participant in Cyrus's production, but also his insights and interpretation of Cyrus's works. As he unravelled his thoughts and options on Cyrus's works, he also unlocked some potion about his life and drew a self-portrait for us. Meanwhile, with her generous description of the works in Kyneton Contemporary, Monique presented a vivid image of this past art event. She highly spoke about the works she saw at Kyneton Contemporary. But she still honestly slipped in a critical comment on what KCT had missed. Monique also shared her critical views and disappointing feeling towards 'Dwelling Poetically' at ACCA. Both Charles and Monique are excellent and eloquent speakers. I am sure you will get a lot from this episode. (pleases forgive and skip my 'dribbles'.)I served Nicoise Salad for all the guests after the recording. Unfortunately, I did not take any photographs of the food this time.
Episode 34 // Back, by popular demand (we assume), it's TEENAGE WRITINGS II. We have a romantic poem from Jack, a modern take on a fairy tale by Kate, and some weird violent nonsense by Hao. This episode got put up very late because I was trying to replace the power supply unit on my computer at 1 AM and I didn't finish until 4 AM. The audio should at the very least sound less compressed than usual. Plugs this week! Ann Hui's 2017 "Our Time Will Come" (Hao), maybe you know if you're in California don't set off fireworks (Jack), the Ask Polly advice column on THE CUT (Kate). [send your embarrassing teenage writing to downersradio@gmail.com // @downersradio // cluffffffx]
ESWS 233 - East Screen: OUR TIME WILL COME West Screen: SPIDERMAN: HOMECOMING Hong Kong Cinema Podcast Podcast episode 233 - East Screen: OUR TIME WILL COME West Screen: SPIDERMAN: HOMECOMING 2 On this episode, Kevin talks about the Taipei Film Festival winners for 2017, and the winner of the NYAFF as well. New Derek Kwok film WU KONG gets an unauthorized release, and some Mainland film finance news. For East Screen we look at Ann Hui's WWII film OUR TIME WILL COME and then we swing back to the West for SPIDERMAN: HOMECOMING. Show notes and details can be found at our main website. visit us at www.kongcast.com or email us at eastscreen@gmail.com As always, thanks for listening!
ESWS 227 - East Screen: 29+1 West Screen: ALIEN: COVENANT Hong Kong Cinema Podcast Podcast episode 227 - East Screen: 29+1 & ALIEN: COVENANT 2 This week, Netflix news abounds, a new Ann Hui film on the horizon. CGV cinema to open in Hong Kong, reboot news and our films for this week Chrissie Chau and Joyce Cheng in 29+1 and the xenomorph is back again in ALIEN: COVENANT. Show notes and details can be found at our main website. visit us at www.kongcast.com or email us at eastscreen@gmail.com As always, thanks for listening!
Canada may be a multicultural country, but there are still many places with very few people of colour. As city kids, Denise and Hannah have always wondered: Is it lonely to be the only racialized person, or family, in a small town? We talk to: Musician Fritz Helder, Globe national food reporter Ann Hui, William Choy, mayor of Stony Plain, Alta., and restaurant owners Peter Li and Linda Xie
Welcome back for another episode of the GGtMC!!! This week the Gents bring you coverage of Eye of the Tiger (1986) starring Gary Busey and Boat People (1982) directed by Ann Hui. Emails to midnitecinema@gmail.com Adios!!! --- Send in a voice message: https://anchor.fm/ggtmc/message
更多影评信息请关注咱们今天的微信：搜索英语环球 NEWSPlus The Golden Era is a 2014 Chinese-Hong Kong drama film directed by Ann Hui and starring Tang Wei and Feng Shaofeng. Tang portrays Xiao Hong, while Feng plays Xiao Jun; both are two of the most important writers in 20th century China. Laiming tells us more. Before seeing Chinese director Ann Hui's latest offering "The Golden Era", I was compelled to do a bit of homework, because this biopic of Chinese writer Xiao Hong seemed pretty daunting to anyone who are not familiar with Chinese literary circle in the early 20th century. However, after a grueling three-hour-long screening, I found these efforts totally unnecessary. "The Golden Era" is along the same line of the director's usual creative impulse of telling stories from a feminine perspective. Her version of Xiao Hong is a girl who spent her entire life running away from patriarchal control, yet had to rely on men in each step she took. It was an era when traditional values began to dissolve along with the collapse of China's last imperial dynasty, but it was not at all a golden era for women. About the age of 20, Xiao Hong eloped with a young man to escape her abusive father and an arranged marriage. Her conspirator of a boyfriend abandoned her when hotel bills swelled beyond their means. Confined by the hotel owner who threatened to sell her to a brothel, a pregnant Xiao Hong wrote to a local newspaper asking for help. That was how she met Xiao Jun, a married man and an editor of the newspaper who later became her partner both in life and in literary career. At the encouragement of Xiao Jun, Xiao Hong began the life of a writer and gradually established her name among the literary circle. But eventually the couple split up due to different life choices and Xiao Hong married another man, a few days before she died of tuberculosis. The film is expected to include a panorama of Chinese literary figures of Xiao Hong's time and to offer an insight into that part of Chinese history. It was a reasonable speculation because the director had three hours to fill, with nothing but the 31-year of Xiao's tragically short life. However Ann Hui hardly paid any heed to characters other than the most important men in Xiao's life. As for the turbulent and eventful history, that was scarcely the concern for Xiao Hong the writer, and was therefore given minimum attention. The focus of the film remains on the fate of the female writer in relation to the men in her life. Some critics also lashed out at the director's experiment with the narrative format. Much of Xiao Hong's life remains a myth due to contradicting accounts offered by her contemporaries. These accounts are frequently brought up as interludes in the film, where the speakers often address the audience directly. Such arrangement may seem a bit strange and could create a false sense of authenticity. But "The Golden Era" is not to be mistaken as a documentary; it is merely a conduit for the expression of feminine ideas. Lead actress Tang Wei is not to blame for a character that's constantly in sight but never in focus; she's done her best to portray a mystical woman within the constrains of the script. Feng Shaofeng, Wang Zhiwen and Zhu Yawen also present as much skills as is needed in the plot. "The Golden Era" is a film for a niche audience; it is not likely to make much of a dent in the box office. But I'm sure it'll resonate among the most understanding critics.
Before seeing Chinese director Ann Hui's latest offering "The Golden Era", I was compelled to do a bit of homework, because this biopic of Chinese writer Xiao Hong seemed pretty daunting to anyone who is not familiar with Chinese literary circles in the early 20th century. However, after a grueling three-hour-long screening, I found these efforts totally unnecessary. "The Golden Era" is along the same line of the director's usual creative impulse of telling stories from a feminine perspective. Her version of Xiao Hong is a girl who spent her entire life running away from patriarchal control, yet had to rely on men at each step she took. It was an era when traditional values began to dissolve along with the collapse of China's last imperial dynasty, but it was not at all a golden era for women. At about the age of 20, Xiao Hong eloped with a young man to escape her abusive father and an arranged marriage. Her conspirator of a boyfriend abandoned her when hotel bills swelled beyond their means. Confined by the hotel owner who threatened to sell her to a brothel, a pregnant Xiao Hong wrote to a local newspaper asking for help. That was how she met Xiao Jun, a married man and the editor of the newspaper who later became her partner both in life and in her literary career. With the encouragement of Xiao Jun, Xiao Hong began the life of a writer and gradually established her name among the literary circles. But eventually the couple split up due to different life choices and Xiao Hong married another man, a couple of years before she died of tuberculosis. The film was expected to include a panorama of Chinese literary figures of Xiao Hong's time and to offer an insight into that part of Chinese history. It was a reasonable expectation because the director had three hours to fill, with nothing but the 31-year of Xiao's tragically short life. However Ann Hui hardly paid any heed to characters other than the most important men in Xiao's life. As for the turbulent and eventful history, that was scarcely the concern for Xiao Hong the writer, and was therefore given minimum attention. The focus of the film remains on the fate of the female writer in relation to the men in her life. Some critics also lashed out at the director's experiment with the narrative format. Much of Xiao Hong's life remains a myth due to contradicting accounts offered by her contemporaries. These accounts are frequently brought up as interludes in the film, where the speakers often address the audience directly. Such arrangement may seem a bit strange and could create a false sense of authenticity. But "The Golden Era" is not to be mistaken for a documentary; it is merely a conduit for the expression of feminine ideas. Lead actress Tang Wei is not to blame for a character that's constantly in sight but never in focus; she's done her best to portray a mystical woman within the constrains of the script. Feng Shaofeng, Wang Zhiwen and Zhu Yawen also present as much skill as is needed in the plot. "The Golden Era" is a film for a niche audience; it is not likely to make much of a dent at the box office. But I'm sure it'll resonate among the most understanding critics and viewers.
The movie 'A Simple Life' by Hong Kong director Ann Hui is a real tear jerker. It documents the relationship between an old servant and her young master. As the elderly woman grown helpless in her old age, the young master assumes the role of a guardian in return for her many decades of loyal service. Despite the title of the film, a house servant's life is never simple. The servant Ah Tao knows where to get the best fruit and vegetables at the lowest prices. She knows the recipes of numerous delicacies like the back of her hand. On top of that, she has to take care of herself and discipline herself, so that she won't become a bother to her master. The only thing about her life that borders on the word 'simple' is her unchallenged loyalty to the master's family. When she was young, Ah Tao turned down many admirers. As a result, she never formed a life of her own. Luckily, she is considered to be respectable member of the extended family within which she has served for more than sixty years. The director presents a very feminine narrative, venturing into considerable detail in order to depict the daily trifles of a servant's life, including how she goes about creating an exquisite meal; how she insists on her independence; and how she gratefully rejects or accepts the kindness of her master. Ann Hui's detail-minded, feminine perspective also helps with her depiction of the prevailing sense of loneliness among senior citizens. By putting the young master in the shoes of the aged servant, the director is able to highlight this loneliness through stark contrast. At one point, the master is seen awake and alone in a quiet apartment; a hint that the servant Ah Tao also spent many sleepless nights in a similar fashion. The full emotional strength of this perspective is boosted by the remarkable skills of Deanie Ip, who is not so much acting as she is being herself. She is able to bring out the humble dignity of a confident servant who is constantly aware of her position. Andy Lau, as the young master, provides audiences with a departure from his normal on-screen image; hiding the charm of his physical appearance behind his tender respect for the elderly lady. With an emphasis on detail, Ann Hui has created an emotionally powerful movie. The slightly melancholic tone may make you think about old-age and death. However, Ann Hui has not supplied enough food for thought in this regard; all she does is observe, relay, and let you observe. Still, 'A Simple Life' is a very touching movie. The director is more than capable of presenting her vision, as are the actors in realizing that vision. On a scale from one to ten, I give it a seven.
ESWS 128 - Bananas is Pyjamas Podcast episode 128 ES: LOVE IS... PYJAMAS [男人如衣服] WS: RUBY SPARKS Video: n/a For episode 128, Kevin and I inspect the latest film from Vincent Kok LOVE IS... PYJAMAS [男人如衣服]. Then Kevin takes a look at narrative come to life in RUBY SPARKS. In news, we look at Stephen Chow's joint venture to create a theme park. Veteran film persona Raymond Wong gets a stock listing, and Ann Hui's experience being robbed in Wuhan. Show notes and details can be found at our main website. visit us at www.kongcast.com or email us at eastscreen@gmail.com As always, thanks for listening!
We’ve reached the era containing the myth of director Patrick Yau and his three movies at Milkyway that he barely directed but before Tom K-W tells us of his London trip watching Ann Hui’s A Simple Life and Ken re-examines Urotsukidoji: Legend of the Overfiend. Latter half features the review of the hard to explain, […]
With John Wilson, We pay tribute to the American writer Gore Vidal who died yesterday, following a seven decade career as novelist - he wrote the best selling Myra Breckenridge, essayist, playwright, screenwriter and political activist. Often associated with high profile feuds, notably with Norman Mailer and John Updike, he also had close associations with J. F. Kennedy's family and Hollywood stars Paul Newman and Joanne Woodward. Literary critics Harold Bloom and Christopher Bigsby reflect on the career of Gore Vidal and we here part of an interview he gave to Front Row in 2008. Two Chinese films are released this week - Zhang Yimou's war epic The Flowers of War starring Christian Bale and Ann Hui's moving art-house movie A Simple Life with Chinese super star Andy Lau. Front Row asked cultural commentator David Tse Ka-Shing to take a look at two very different sides to Chinese film. John visits the newly renovated William Morris Gallery in Walthamstow, North London - the place of Morris' birth in 1834. The eighteenth century merchant house illuminates all aspects of Morris' work from the design of fabrics, wallpaper and stained glass windows to his social campaigning - against the industrialisation of the Victorian era, and for the preservation of buildings, Epping Forest and the principle of quality in everybody's life. To mark the Olympics, the BBC - in partnership with The Scottish Poetry Library - has selected and recorded a poem representing every country taking part. Each is read by a native of that country who lives here in Britain. Every night during the Olympics, Front Row features one of the poems.Tonight, the British poem - Jim Broadbent celebrates our first gold medals. Producer Claire Bartleet.
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