It’s early January 2020 and SciFiNow is among what’s apparently the first audience to see select full scenes from one of the year’s most intriguing blockbuster prospects. We’re very impressed by the thrilling scale and tender, moving intimacy of the wildly different sequences we’re shown. And this is somewhat surprising because this film is one of those oft-dreaded propositions: a remake.
Well, yes and no to it being a strict remake of another movie. Disney’s new Mulan is definitely a live-action update of its own animated film from 1998, but the character of Hua Mulan originates in a famous story first told over 1,500 years ago, in which a young woman, disguised as a man, took her aging father’s place in the army. In paying tribute to various versions of the story, as well as the character’s importance for Chinese audiences, the new Mulan is a very different beast from its Disney predecessor…
Full interview for SciFiNow
This ambitious, epic melodrama from Chinese director Wang Xiaoshuai is delivered with historical richness and
staggering emotional gravity. Across three hours, its story jumps back and forth between four decades and documents significant upheavals in modern Chinese life.
Of particular interest to Wang is how the country’s one-child policy, designed to control the population size and finally eliminated in 2015, affects an ensemble of couples, their relatives and their children. He also explores how those ripples extend to years of rage and regret after two parents, Liyun (Yong Mei) and Yaojun (Wang Jingchun), fall foul of the rule. It brings the political reality and monumental societal shifts right down to a human level…
Full review for Little White Lies
When Lulu Wang’s The Farewell premiered at this year’s Sundance Film Festival in January, the praise was near-unanimous. A tragicomic drama rooted in its writer-director’s own real-life experiences, it begins with the words: “Based on an actual lie.”
The film sees a young Chinese-American woman, Billi (Awkwafina), return to China when her beloved grandmother, Nai Nai (Shuzhen Zhao), is given a terminal diagnosis. There, she struggles with her family’s decision to keep Grandma in the dark about what’s happening, while they promptly schedule a wedding for Billi’s cousin – so that everyone can be together one final time before Nai Nai’s imminent deterioration.
While keeping loved ones unaware of their serious illnesses is apparently common practice in China, doing so presents difficulties for Billi when it comes to making sense of her grief. Although born in China, she moved to the United States with her parents when she was still very young; with this ‘lie’, the cultural divide is laid bare…
Full interview for HUCK