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The Pharmacy: Shanghai
Filmed inside Pharmacy No. 3 in Shanghai, Joris Ivens and Marceline Loridan-Ivens document the daily work of a state pharmacy that functions as both a dispensary and a neighborhood medical center. The film focuses on routine interactions between staff and patients, revealing an integrated model of urban healthcare in 1970s China.
Swimming, Dancing
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October 1st, 1957. Dusk descends on Tiananmen Square, Peking. Fireworks crackle light across the night sky, above a city alive with National Day festivities and celebrations. Two intrepid New Zealand film-makers - Rudall and Ramai Te Miha Hayward - are there, documenting the life and times of communist China. The distinction of being the first English speaking foreigners to film unfettered in communist China was significant. The invitation to visit China was facilitated through the New Zealand China Friendship Society. They filmed in Canton, Shanghai, Peking (Beijing) and Wuhan. It was a small window of opportunity for Westerners to gaze on a country that was largely a mystery to the outside world since 1949. The unfortunate irony was that two of the documentaries; “Wonders of China”, and “Inside Red China”, were considered to be communist propaganda, and were not distributed outside of New Zealand.
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Manufactured Landscapes
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A film about the Tibetan Freedom Concert in San Francisco in 1996.
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Undercover in Tibet reveals the regime of terror which dominates daily life and makes freedom of expression an impossibility. Tash meets victims of arbitrary arrests, detention, torture and ‘disappearances’ and uncovers evidence of enforced sterilizations on ethnic Tibetan women. He sees for himself the impact of the enormous military and police presence in the region, the hunger and hardship being endured by many Tibetans and hears warnings of the uprising taking place across the provinces now.
Visions Cinema: Film as a Way of Life: Hong Kong Cinema - A Report by Tony Rayns
Examines the early 1980s Hong Kong filmmaking community. Tony Rayns interviews some of the new generation of filmmakers and figures from the wider film culture.
I Am Here
It's a story about post-90 generation in China and how they chasing their dreams through a talent show. The summer of 2013 saw a group of young boys enter a Chinese TV talent show called Super Boy, hoping to be catapulted to fame. The film documents how the young boys coped with their new challenging lives. While under unthinkable pressure, they proved themselves by trying to make the right choices during live shows. Talent shows create a new type of entertainer, but can they still keep their true selves? Can they adjust themselves and balance the ups and downs? What have the ten years of Chinese talent shows given us? What is urging us to grow up?
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