Discover Movies

Different veterans, different memories of the Anti-Japanese War, and different lives. The oral narratives of 7 veterans show you the pictures of the Anti-Japanese War in that year, and take you to understand the current situation of the veterans of the Anti-Japanese War in Guangdong.

In China, it is hard for a divorced or widowed woman to find a good new husband, especially for those who have kids. For thousands of years, this phenomenon has been rooted in the profound Chinese culture. Though losing something, if not all, those women are still longing for love, one of the only things that can provide warmth to them. They want to give their descendants a family with a father who can fill in the gap of fatherly love. Export My Love is a cross-continent love-seeking story between the East and West. Shot in both China and America, this documentary follows four Chinese women who try to pursue love by finding U.S. husbands. Although they've never been to the U.S. before and most of them cannot speak English, they try their best to overcome these barriers and start new lives.

A drone tends to sugarcane growth, eliminating threats in a world where humans are extinct. An encounter with an ant reminds it of its first patrol, after the collapse of 20th-century collectivism and a sugar mill’s destruction by globalized predictive behavior.

Several young people shared their thoughts on life and their dreams for the future. One of them expressed his dream of becoming a punk rock artist.

Scars, which are unfortunate or unexpected results, are also signs of healing. This new connective tissue replaces the process of injured tissues, and at the same time it becomes a metaphor for the pain and frustration of life: the sadness of the body, the union of pain... In short, scars have become a proof, a proof of existence, a proof of alive, a proof of pain, and a proof of a certain age. Beginning in 1949, in this vast land, these various scars, these healing marks, patterns, sad shapes, bring personal memories, collective pains, the marks of history, and come together Gaze, the meaning of the record. This film is the first part of the "Scar" project, the story of 110 Chinese scars.

An ice sculpture in a northern city, a marching band, and the bitter silence on the radio.

Kalibnur has many identities, my sister-in-law is just one of them. Kalibnur has many stories, and she writes letters to herself telling these stories.

Video, colour and sound (mono)

In northern Shaanxi, those three-wheeled trucks who came to the city from rural areas came to be suffering. They talked hard and finally sent their children to distant universities. Four years have passed, the big children can't find a job, the future is uncertain, the smaller children have come to the age of the university. It seems to be in the instinct, a family is still like a hen hatch, waiting for the new hope to break out.

The story took place in 2008. Henan Guo Hui, who was a harvester, went to the provinces to harvest wheat for him. He and his father then invited a driver and set off. I went to Shanxi, Shaanxi, and also included Henan. They met other mairs to talk about the earthquake in Sichuan and talk about the difficulties of collecting wheat. Bargaining with the farmers, thinking of the law less to give the leader a little commission, sometimes to think of the way to get money, sometimes to think of ways to escape the control of the leader. The driver complained that the car owner was too bad, and the owner complained that the driver had eaten too much. In the middle of the road, I also encountered the need to collect the toll, and finally met the young and confused.

Jia Zhitan investigates the One Strike-Three Anti campaign in his village.

Propaganda newsreel made for the tenth anniversary of the Cultural Revolution.

A documentary of underground music culture in Beijing

In the process of social transformation in China, urbanization has deeply affected and changed the countryside. Heishuigetuo is a remote village with over 300 years of history which is gradually withered. Currently, there're only 15 villagers living in it. The mountain village retains the traditional features of northwestern Shanxi Province. Hou Junli is the only young man in the village. He raises more than 500 goats with his father. Liu Sanlong, 82 years old, is a farmer of the older generation living on farming. Liu Guoping is a young man among the first group of people leaving the village to work in the cities.

Young students from across the country are invited to Beijing to perform a play written by future Nobel Laureate Gao Xingjian. The film documents their feverishly intense rehearsals, the phenomenal public reception of their performances, and their desperate attempts to sustain their euphoria and pursue artistic careers in Beijing.

At the end of the 1990s, about 40-50 million industrial workers were laid off in China, and the family population involved was hundreds of millions. He Guoping was one of them. After he was laid off, his wife opened a rental house. He became the "housekeeper" who cooks and cooks every day. His son He Huan was also raised by a playful child. Twenty years of follow-up shooting of this ordinary family, this continued "presence", the film has a time tentacle of "seeing the growth of grass". Some people say that this is a "civilian epic".

Burdened with Yugoslavia's rise and fall, an old editor in chief sticks to the state-owned publishing houses and bookstores that were once brilliant but are now on the verge of collapse. A young curator tries to use daily objects from old Yugoslavia to explore how the old way of life sustains life today. This is an Odysseus tour of the cultural heritage of Belgrade. A traveling Chinese writer passes through the area and sees the lives of the two characters from an outsider's perspective. The film records what she sees, feels, and her pain. Though mountains and streams separated them, they face each other spiritually.

Since the 1990s, women from Southeast Asian countries such as Myanmar, Vietnam, and Cambodia have been introduced or lured into mainland China, often becoming tools for childbirth. The film’s protagonist, Larry, was born in northern Myanmar. As a child, she broke her leg while collecting firewood in the mountains. Due to a lack of funds for treatment, she was left with a disability. At the age of fifteen or sixteen, she followed her aunt to northern China and married a man much older than herself. They lived together for over a decade and had two children. During this period, Larry left home, married a young man, and had a daughter. In the sweltering summer, Larry returned to her hometown in northern Myanmar.

Documentary film about a private club owner, an American actor, a beauty salon owner, and a taxi driver trying to pursue their individual dreams in Shanghai.

The father of an RAF reservist killed in Basra in 2007 travels to the Iraqi city to discover the impact of the war and the subsequent occupation on ordinary Iraqis.

Documentary on Zhou Enlai's various contributions to Chinese diplomacy, from 1949 to 1976, commissioned for the 100th anniversary of late Premier's birth. From Baidu: "China's peaceful foreign policy has enabled China to gradually break through the imperialist hegemonic political and diplomatic blockades of the United States and the Soviet Union, and successfully gain the status of a major diplomatic power, opening up great possibility for the New China." The film won multiple awards in China.

Leave all the messages for the future⋯ Hamasen is one of the first modernization regions. Since the Japanese colonization era, there had been many scenic postcards recording images of Hamasen. Some of the architectures still remained in the same places as they had been in the postcards. Over hundreds of years, this piece of reclaimed land carries memories of fishing men, customs declarers, and local elders from generations to generations. Sceneries in people's memories intertwine with different time layers of maps of Hamasen. What kinds of messages do we intend to leave for the next generation?

Being trapped in the United States and self-isolated, I had a video chat with my family in China. Back in January, I shot a roll of film recording the sunset at Santa Monica beach, and rewatching it now, I decided to prolong the dusk as an attempt to erase the decisive boundary which separates night and day.

The caudal vertebrae (coxxyx), the most significant part of the body that distinguishes humans from animals. The symbols and images derived from it form the "signifier chain" of the body and objects And becomes narrative in the gaze of the viewer: An office in the middle of ecology and the jungle, The bodies of white-collar workers are alienated by the materials of their profession and office ...... PHYSICAL GUERRILLAS invaded the office space in an office building, where they checked in together every day in hundreds of trees, and fully integrated into this unique field with anxiety and involution: Different groups of people are spaces – any psychological and spiritual communication will create a "new space", and the sound environment of the area will regain a new space with a unique texture.

1976 was an important year for China - Chairman Mao dies and the Cultural Revolution ends. In Chengdu, five young women find 2 Yuan on the street. They treat themselves to ice cream and decide to take a photo in a studio. Every 10 years they take another photo in the same position. Although their lives have taken different routes and their political views don't align, they remain close friends.

A beautiful 7-year-old girl Fuyao is devastated when her parents are arrested and thrown into prison for their faith. Bullied and humiliated, Fuyao refuses to be crushed by the gigantic repressive regime. She and her mom find extraordinary means to connect through the iron bars and grow together.

Documentary on the Caohai Lake of Guizhou Province, how it was destroyed in the past and restored later.

As a young Chinese filmmaker returns to his hometown in search for himself, a long due conversation with his mother dives the two of them into a quest for acceptance and love.

Following the mother of martyrs Pro-Ukraine, Qingwen who missed her lost son Guo Zhenggao and accuse the brutal of the war that takes up so many life.

Between 1959 and 1961, more than 35 million people starved to death because of Mao’s Great Leap Forward policies. To avoid censorship in China, this painful period is now euphemistically referred to as the “Three Years of Natural Disasters.” This courageous oral history, directed by Zhang Mengqi, tells the story from the point of view of her grandfather’s village, to which she returns every winter to interview survivors. Central is moving voice-overs from a grandmother who details harrowing pregnancies and lonely births during the Great Famine and her granddaughter, a migrant worker. In this agricultural village, the landscape is stark yet beautiful with plenty of room for contemplation. When a hand appears in front of the camera, Zhang transitions into a delightfully playful territory, incorporating a uniquely participatory experience that extends beyond the screen.

A young woman who lives in Canada travels back to her home country, only to complete a long-time wish to take a special "couple portrait" with her aged Grand father.

As coronavirus begins to sweep the globe, Zhang returns to her father’s village with her camera, seeking to understand where the extraordinary phenomenon might sit in the grand palimpsest of China’s history. As with all of Zhang’s work, this is a committed, reflective, formally assured non-fiction film, grounded in collaboration and blessed with an uncanny sense of unhurried time.

The Na-khi people of Yunnan demonstrate the ritual dance for the propitiation of suicide, expressly for Rock to film. The ceremony features dancers moving around an altar containing paper dolls representing suicides and doing ritual battle with demons. Title cards explain the steps of the ceremony. Produced in 1954 using footage filmed by Rock in 1928.

Li is over 70 years old, he sits in front of his window in the afternoon every day and smokes the cigarette to pass the time. The sound of water drops in the kitchen, two pigeons are roosting on roof of the opposite building, and the sunshine comes into the room, which make Li feel alive. His emotions usually could be fluctuated with the plot of the TV programmes, because he even could find out his own fitful memories from it. One was is the whole family, another one also is the whole family. During worshipping of the ancestors, he listened to his mother's arrangements and felt sincere concern from his brother. However, happy time was so short. After he returned to his rental place, the only thing that he can do is to look at the dream which was outlined in the New Year's Gala, and which gradually away from his dream. Everything just was the same as the past in this new year, he was still feel so lonely.

This is a documentary filmed in a subjective perspective. Without any commentary, the film records, in the switches and transitions of the faces, the gamut and track of emotions and vision of the author in enjoying the photographs by Koudelka—from the scenes of life in “Gypsies”, to the conflicts in “Invasion”, further to the still images in “Exiles”, and finally focused on desolately dignified “Chaos”. The four chapters of the film echo the four photo albums of Koudelka. With the indoor CD player playing the music by Shostakovich, the invasion of the landscape without the windows, intermingled with the background noise, complicates the ambient circumstances of the film and renders an immediate sense of urgency and relevance.

"If the old doesn't go, the new never comes" recites a teenager hanging out near a demolition site in the center of Chengdu, the Sichuan capital in western China. In Demolition, filmmaker J.P. Sniadecki deconstructs the transforming cityscape by befriending the migrant laborers on the site and documenting the honest, often unobserved, human interactions, yielding a wonderfully patient and revealing portrait of work and life in the shadow of progress and economic development.

As time goes by, places stay the same, but people change. What have we been through and learned over the last 10 years?

At the turn of the century, China experienced drastic transformations in its socioeconomic structure and political system, which brought forth the acceptance of many concepts that had previously been opposed. These included making quick money, "selling" your body, and accepting hidden pornography. Using an inconspicuous hidden camera over the course of several days, Cui Xiuwen artfully captures how nightclub women act during this time – including dressing up, counting money, speaking to family members, and negotiating deals inside the ladies' room at one of the most popular nightclubs in Beijing.

Academy Tianjin (2012) is a silent, 52-minute video that documents a visit to the seemingly abandoned Tianjin Academy of Fine Art, China. The video is shot with a camera mounted on a Steadicam to produce an ethereal and disquieting view of the empty halls and studios. Littering the scene are abandoned paintings and drawings made in the tradition of Western figurative art.

Every child has the right to education in China. But ten-year-old Anni is not allowed to go to school. Why? Her father is a dissident. Anni and her father moved to be closer to her older sister. The little girl was not in her new school long enough to get settled – the secret police took her away after three days. Her father was, as so many times before, being interrogated. The school preferred to not have anything to do with such a family, so they have refused to continue educating her. Independent Chinese director Zhu Rikun, camera in hand, follows the movement of activists who have joined forces through the Weibo social network to support Anni. Will peaceful protests in front of the school and a petition be enough to pressure the school to take her back?

Thousands of poor Chinese workers wait years to petition against injustices suffered in their home districts with the court of the plaintiffs in Beijing - often the last resort for those seeking redress for dismissals, land confiscations, beatings and arrests. Filmed over a decade, director Zhao Liang gives an insight into the shared disenchantment of those who search for justice from a system that pays little to no significance to their individual suffering.

This is a story about a five-year battle waged between the farmers of two villages and the local government over land-use rights. This documentary illustrates the subtle changes being made to the rules of the game between officials and citizens, and provides deep human insight into the loss, despair and increasing awareness experienced by common farmers in the pursuit of land-use rights.

Gei Libao, the former Olunchun hunter raised more than 100 Hunting horses in the traditional way. Although hunting was banned, Libao occasionally went into the mountains, not for hunting, but for the ancestors' hunting culture. Libao's son Liang Liang and his partner are inseparable from the forest, and are more enthusiastic about modern extreme sports. They have formed an off-road motorcycle team, which is consuming the youth of the mountain. One day in summer, Libao's horses was hit by a poacher's bullet, which caused a series of cultural collisions.

A Muslim living in a non-Muslim region of China. It attempts to explore the relationship between ethnic, cultural background and survive.

Last Harvest follows the journey of an elderly Chinese farming couple as they are being relocated by the government's mammoth and controversial South-to-North Water Diversion Project.

We follow a man of advanced age walking along a misty mountain path in China. In one shot he carries a bag; in others he carries sacks of rice, or timber, or large buckets of water. He’s filmed in the morning, in the evening, and at night. The seasons change as we walk with him, through the bleakness of the winter, or on a fresh spring morning. The low-key atmosphere, the subdued gray-green hues of the surroundings, and the absence of dialogue and music all lend this film a refreshingly understated feel. A space is opened up in which the viewer can listen to the sound of the wind, the man’s footsteps, the birds. There is time to wonder who the man is that we are following, where he is going, and what his life is like. Only at the end of his journey do we find out a little more about him. One Day is a minimalist take on a journey that allows the viewer room to reflect on what we do with our time.

The Great Unity of the new Generation of Chinese modern Artists since 21st Century. 50 new Chinese artists of new Generation came to Xinglong County, Hebei Province, where is 110 kilometers away from Beijing. Here, they have given their own answers to the same question: what is art? Through focusing on varied perspectives of emerging artists on creating, how the environment impacts them and challenges artist are experiencing and have experienced from art itself and society. Artists demonstrate the complex relationship between art, environment, art creating and individuals, and they are intended to deepen an eternal question –What is art?

New Castle is a remote rural village where houses and mountains have been distorted due to excessive mining. Under the "New Village" campaign, all the villagers will be moved into the nearly completed Luxury Buildings. The documentary depicts the life of two groups of people, miners and villagers. The miners who are from all over the country, lost their jobs because of the Olympic Games in Beijing - the mine was shut down to make the air less polluted. The villagers had no better luck. Granny Fan lost two sons and two grandsons in a mining accident. Old Han and Old Wang are still farming. Some youngsters are gambling in the house of Han Bin, who was crippled in another mining accident. In the film, you can also see the village election, the service of local Christians, and people worshipping for a better year to come.

As a young man, Zheng was a wild boy: he’d rather spend his time gambling and dancing than studying. But his exuberant way of life came to an end when, during the Cultural Revolution, he was charged with counter-revolutionary behavior and sent to prison. Now, he lives in the boarding house of Shuanglin Town, and is a silent witness to the last chapter of his own, lonely Life. Unyielding to his neighbors, to his society, to its History, as well as to the omnipresent Chinese system, he realizes that he is even almost independent of himself. This intimate and respectful portrait of a striking 83-year-old Chinese citizen offers us an inside view into the way China treats its Seniors and gives us the opportunity to better understand China’s contemporary History.

Shanghai government decided to build a grand overpass on Chengdu Road, thus buildings need to be demolished and hundreds of households have to be relocated. This documenytary, shot from summer 1993 to early 1994, focused on 6 of these households.

Propaganda documentary explaining the Korean War from the Chinese side.

After the outbreak of the war with Japan, all Beijing universities were closed or bombed. A group of young students, aged 18 or 19, set off in a hurry, moving south on foot, crossing Xiangqian and Yunnan, and eventually forming a temporary university on the Kunming plateau - the Southwest Union University, a joint venture between Tsinghua, Peking University and Nankai. They crossed a city to listen to the "best Chinese language class ever", to listen to Toselli's "Serenade", and to join the Flying Tigers. For these "post-90s" seniors, who are now in their nineties, SWU is not a dusty piece of history, but a memory of youth that is still as fresh as ever. Yang Zhenning, Xu Yuanchong, Pan Jiluan, Yang Coix, Wang Xiji and Ma Zhitu - 16 students of the University with an average age of over 96 years old are cast together to take you back to a time when war was raging and stars were shining.

The shakuhachi is a famous Japanese lbamboo-flute. It was originally introduced from China into Japan in the 7th century and underwent a resurgence in the early Edo period. The film records the life of the shakuhachi performers, controllers, and learners in China, Japan, the United States

Over the span of a decade, the director, as a family member, records the mental odyssey of his sister after she was trafficked, confronts the person who bought her directly, probes into the secrets of his AIDS-stricken father, and listens to his mother’s unspoken laments. In his eyes, this remaining, clan-style family gathers and parts, and as death looms near, they sing heartily.