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; Country: China; 40 Votes; Duration: 79 Minutes; Ratings: 7 of 10. Critics Consensus No consensus yet. 90% TOMATOMETER Total Count: 10 Coming soon Release date: Dec 13, 2019 Audience Score Ratings: Not yet available Chinese Portrait Ratings & Reviews Explanation Tickets & Showtimes The movie doesn't seem to be playing near you. Go back Enter your location to see showtimes near you. Chinese Portrait Photos Movie Info From acclaimed director Wang Xiaoshuai (BEIJING BICYCLE; SO LONG, MY SON) comes a personal snapshot of contemporary China in all its diversity. Shot over the course of ten years on both film and video, the film consists of a series of carefully composed tableaus of people and environments, each one more extraordinary than the last. Pedestrians shuffle across a bustling Beijing street, steelworkers linger outside a deserted factory, tourists laugh and scamper across a crowded beach, worshipers kneel to pray in a remote village. With a painterly eye for composition, Wang captures China as he sees it, calling to a temporary halt a land in a constant state of change. Rating: NR Genre: Directed By: In Theaters: Dec 13, 2019 limited Runtime: 79 minutes Studio: The Cinema Guild Cast Critic Reviews for Chinese Portrait Audience Reviews for Chinese Portrait Chinese Portrait Quotes News & Features.

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MOVIES 5:30 PM PDT 3/17/2019 by Courtesy of HKIFF A subjective gaze at the state of contemporary China. Chinese auteur Wang Xiaoshuai reconstructs his and his country's past through images of cities, factories and trains filmed throughout the past decade. A ceaseless stream of tableaux showing how people study, work, pray and worry in cities and villages across China in the last 10 years, Chinese Portrait makes an offbeat addition to acclaimed director Wang Xiaoshuai's filmography and is the first full-length documentary in his career. It also sums up what he has been trying to achieve in three decades of highly varied fictional features. True to both its English and Chinese ( My Lens' titles, Chinese Portrait is a subjective and utterly revealing snapshot of the state of Wang's country. Devoid of voiceovers, dialogue or onscreen descriptions, Chinese Portrait has made much fewer waves among buyers and programmers (it bowed in Busan, then IDFA) compared to the directors more accessible fictional titles. But the success in Berlin of his feature So Long, My Son, which won best actor and actress awards last month, has given the documentary a new lease on life. Cinema Guild has picked up U. S. rights and is set to release the film theatrically later this year. With its powerful, panoramic survey of a society in transformation — consider this the earnest, narrator-free equivalent of Patrick Keiller's sardonic Robinson film trilogy — the doc provides a key to understanding Wang and the sixth-generation Chinese filmmakers of which he is a part. It fits into a growing number of unconventional Chinese documentaries driven by the cutting and remixing of existing material, like Zhu Shengze's Rotterdam winner rfect or Lei Lei's Berlin Forum title Breathless Animals. According to Wang, Chinese Portrait was born in 2009 out of his urge to pay tribute to the work of his painter friend Liu Xiaodong. Director Jia Zhangke had previously highlighted Liu in his more conventional documentary Dong in 2006. Here, instead, Wang travels up and down China, creating his own cine-paintings from people leading their everyday lives. The predominant style of Chinese Portrait is static shots in which subjects — miners, fishermen, students, passengers on a train — pose for Wang's camera. In one clever shot, the posing is double: Amid the wreckage of the Sichuan earthquakes, he films young women posing for a painter (presumably Liu) on the edge of the screen. Many of the scenes in Chinese Portrait focus on labor. There are farmers cultivating potatoes in a field; technicians monitoring a steel furnace; an army of workers stationed at sewing machines on a shop floor; and office workers in suits staring into rows of computers which seem to go on forever. But there are also nods to China's post-industrial landscape, depicted in retired workers visiting the emptied shell of their soon-to-be-demolished factory, a showroom with models of future skyscrapers and vast shopping arcades looming large over hawkers and pedestrians. The enormous cultural and economic disparity in China is vividly revealed in Wangs scenes of rural life and Valérie Loiseleux's telling editing. Impoverished kids in the arid western hinterlands line up outside their made-in-mud schools, in sharp contrast to classrooms in metropolitan universities. A shot of people idling outside rickety huts is followed by young uniformed chefs taking a break in the back of city noodle restaurants. There are even visual collisions within the frame, as when traditional ethnic-minority musicians perform in a modern downtown car park. These juxtapositions hint at Wang's thoughts about the direction China is heading and how its different communities fare amidst such changes. But Chinese Portrait also marks the director's own rite of passage in life. He appears onscreen in shots filmed in Tiananmen Square, where the military clampdown on pro-democracy movements in 1989 shaped the worldview of Wang's generation of artists and filmmakers. We see him again on a train, which probably represents his memories of his family being "sent down" from Shanghai to China's southwestern backwaters during the Cultural Revolution, and then again outside a crumbling factory from the industrial urban landscapes he grew up in as a teenager. More than just chronicling a country in transformation, Chinese Portrait signals seismic shifts in cinema as well. The differences in textures and aspect ratios of the different scenes reveal the universal leap of filmmaking from analog to digital, as grainy 4:3 aspect ratio shots sit alongside sharp, widescreen vistas. Demanding attention, imagination and critical viewing from the audience, Chinese Portrait is nevertheless one for posterity. Production companies: WXS Productions, Dongchun Films (Beijing) Chinese Shadows Director: Wang Xiaoshuai Producers: Isabelle Glachant, Liu Xuan with Liang Ying Executive producers: Qian Yini Director of photography: Wu Di, Zeng Jian, Zeng Hui, Piao Xinghai Editor-sound designer: Valérie Loiseleux Sales: Asian Shadows In Mandarin 80 minutes.

Movies, ‘Chinese Portrait Review: A Snapshot of a Country, Artfully Composed A visual take on the vast expanse of a land and its people, compiled over 10 years by Wang Xiaoshuai. Credit. Cinema Guild In its title and its panoramic scope, “Chinese Portrait” promises a snapshot of modern China, with scenes that show life in settings urban and rural, industrial and agrarian, scenic and seedy. This documentarys human subjects are young and old. But in intriguing, sometimes unsatisfying ways, it leaves the synthesis to the viewer. It is an experimental film more than it is a state-of-the-nation address, inviting consideration of how each of its successive tableaus — just about the entirety of the movie — came to be created. The director, the veteran Chinese filmmaker Wang Xiaoshuai ( “Beijing Bicycle”) shot “Chinese Portrait” over a decade on a combination of film and video. Many scenes consist of a single shot, and the vignettes are generally separated by brief bits of visible film leader. The pieces of dialogue that can be heard go unsubtitled. And while the film depicts a diverse cross-section of Chinese life — from horses grazing in the countryside to a man in a respiratory mask in a smoggy cityscape; from Muslims in prayer to a dimly lit celebration — its primary interest lies in the tension between candid moments and shots that appear artfully composed. The documentary begins with miners standing by a track at what looks like the opening of a mine shaft. (There are no title cards or other identifiers. Are the miners stoic stances natural or acted? What conversations, with the filmmakers or otherwise, took place before and after the cameras rolled? In several shots — in an office, in a classroom — one person will stare directly at Wangs camera while others appear oblivious to it. Other images are straightforward person-on-the-street portraits, practically still photographs. The camera is notable for its stillness. Kineticism generally derives from action within a shot: A man stands by a gate at the back of a speeding train while another train rushes by in the opposite direction. A building undergoing demolition partly collapses, stirring up a giant cloud of dust. The rush of progress generated by Chinas transition to a capitalist economy has been explored by several widely screened Chinese filmmakers, such as Jia Zhangke ( “Ash Is Purest White”) and Wang Bing ( “Bitter Money”. A bit of that theme — in scenes that involve construction or pollution — is here as well. But the overall mood is less hectic than peaceful; Wangs snapshot shows a China that happily encompasses multitudes. The concatenation of difference is captured in the busy final image, in which a singer with a guitar begins to perform in a crowded restaurant, never quite commanding the attention of its diners. Chinese Portrait Not rated. Running time: 1 hour 19 minutes.

Courtesy of Cinema Guild NEW RELEASE Chinese Portrait December 13–22, 2019 From acclaimed director Wang Xiaoshuai ( Beijing Bicycle; So Long, My So n) comes a personal snapshot of contemporary China in all its diversity. Shot over the course of ten years on both film and video, the film showcases carefully composed tableaus of people and environments, each one more extraordinary than the last. Pedestrians shuffle across a bustling Beijing street, steelworkers linger outside a deserted factory, tourists laugh and scamper across a crowded beach, worshippers kneel to pray in a remote village. With a painterly eye for composition, Wang captures China as he sees it, stealing moments of reflection from a society in a constant state of change. A Cinema Guild release. View trailer. Please note: The 5:00 p. m. screening on Friday, December 13 is free for Individual-level Members and above. All other New Release screenings are discounted for Members (7 / free for patron members. New Release Chinese Portrait Friday, December 13, 5:00 p. Museum of the Moving Image - Bartos Screening Room Friday, December 13, 7:30 p. Museum of the Moving Image - Bartos Screening Room Saturday, December 14, 4:00 p. Museum of the Moving Image - Bartos Screening Room Saturday, December 14, 6:30 p. Museum of the Moving Image - Bartos Screening Room Sunday, December 15, 4:00 p. Museum of the Moving Image - Bartos Screening Room Sunday, December 15, 6:30 p. Museum of the Moving Image - Bartos Screening Room Wednesday, December 18, 3:00 p. Museum of the Moving Image - Bartos Screening Room Thursday, December 19, 3:00 p. Museum of the Moving Image - Bartos Screening Room Friday, December 20, 5:00 p. Museum of the Moving Image - Bartos Screening Room Saturday, December 21, 4:00 p. Museum of the Moving Image - Bartos Screening Room Sunday, December 22, 4:00 p. Museum of the Moving Image - Bartos Screening Room.

YouTube. 1 nomination. See more awards » Videos Learn more More Like This Crime, Drama Thriller 1 2 3 4 5 6 7 8 9 10 6. 8 / 10 X Deng is a stubborn retired widow who spends her days caring about her two grown up sons and her elderly mother, despite her family efforts to stop her. But her daily routine starts derailing when she keeps receiving anonymous calls... Director: Xiaoshuai Wang Stars: Zhong Lü, Yuanzheng Feng, Hailu Qin Music 7. 7 / 10 An elderly professor's ordered life spins dangerously out of control when he falls for a nightclub singer. Josef von Sternberg Emil Jannings, Marlene Dietrich, Kurt Gerron 7. 1 / 10 The relationship between a father and daughter is complicated by the arrival of a handsome young man. Claire Denis Alex Descas, Mati Diop, Nicole Dogué Two married couples adjust to the vast social and economic changes taking place in China from the 1980s to the present. Liya Ai, Jiang Du, Zhao-Yan Guo-Zhang 6. 3 / 10 Lin, a sea captain, returns from a 6 month journey when he is told that his 25-year-old son Lin Bo has been gunned down by the police. In his quest to understand what happened, he realizes. See full summary » Xueqi Wang, Bingbing Fan, Hao Qin Mystery 7. 2 / 10 A man went back to Guizhou, found the tracks of a mysterious woman. He recalls the summer he spent with her twenty years ago. Gan Bi Wei Tang, Jue Huang, Sylvia Chang History 11-year-old Wang lives with his family in a remote village in China. Life is tough, but they make the most of what little they have. When Wang is selected to lead his school's daily. See full summary » Jingchun Wang, Wenqing Liu, Guo Liuxing Zhong Adventure Fernando, a solitary ornithologist, is looking for black storks when he is swept away by the rapids. Rescued by a couple of Chinese pilgrims, he plunges into an eerie and dark forest, trying to get back on his track. João Pedro Rodrigues Paul Hamy, João Pedro Rodrigues, Xelo Cagiao 6. 9 / 10 A divorced couple learns that the way to possibly save daughter, who is suffering from blood cancer, is to have another child. Problem is: They're both already remarried. Weiwei Liu, Jia-yi Zhang, Nan Yu Zhenjiang Bao, Jiangnan Li, Jingju Liu War A cattle herder and his family who reside in the dunes of Timbuktu find their quiet lives. which are typically free of the Jihadists determined to control their faith. abruptly disturbed. Abderrahmane Sissako Ibrahim Ahmed, Abel Jafri, Toulou Kiki Fantasy 6. 7 / 10 Dying of kidney disease, a man spends his last, somber days with family, including the ghost of his wife and a forest spirit who used to be his son, on a rural northern Thailand farm. Apichatpong Weerasethakul Thanapat Saisaymar, Jenjira Pongpas, Sakda Kaewbuadee Edit Storyline Factory and construction workers, farmers, commuters, miners, students. The director captures the state of his nation, by static filming one or more people in more or less motionless poses. No narrative, just portraits. Plot Summary Add Synopsis Details Release Date: 13 December 2019 (USA) See more » Also Known As: Chinese Portrait Box Office Cumulative Worldwide Gross: 2, 758 See more on IMDbPro » Company Credits Technical Specs See full technical specs ».

As director Wang Xiaoshuai introduced his film Chinese Portrait, he jokingly welcomed the audience to feel free to take a nap during the showing, and as the first scene rolled by, his suggestion made sense. Opening on eight men gazing down what appeared to be a train tunnel, the scene never changed, and nothing happened. After about 90 seconds, the screen went black before transitioning to another 90-second shot of three dockworkers, one of whom stared relentlessly into the camera for the scenes entirety. This is the format of the film from start to finish. There arent any voice-overs, subtitles or context. There isnt a plot or message from the piece. Its goal is simply to give a “pure picture” of Chinese citizens, according to Wang. He asked participants to look into the camera for four minutes to create a live portrait, a series of disconnected postcards to take the viewer across the country. The director is associated with the sixth generation of Chinese cinema, which is categorized by a somewhat despondent outlook on Chinese culture. This comes from a wariness of the political dangers that permeate the country and the destruction of cultural values caused by globalization. In one scene Wang stands alone in the middle of Tiananmen Square, the gray courtyards a dark reminder of the squares past. Wang said he didnt ask anyone else to participate in the scene for fear of being arrested. After getting the footage, he and his crew quickly got in their van and sped off before anyone could ask any questions. The effects of industry are clear and prevalent in the film as well. Countless shots show empty, decrepit buildings towering high into a overcast sky. The concrete or cement bricks blend seamlessly with the dirt the buildings are founded on. In one scene, a city worker pushes puddles across a muddy street as honking cars and trucks rattle over the patchy earth. Most images of the city are bereft of colors that arent gray or brown. But in rural areas, theres peace and quiet. In one scene, a donkey pulls a cart down a dirt road as workers toil in a green field as they fill bags of produce. Viewers finally get to see light-blue skies, luscious fields swaying in the breeze and snowcapped mountains standing miles from the barren colors of the city. Unfortunately, there wasnt a good look inside a Chinese home. A single shot near the beginning of the film shows a group of five: two men, two women and a young girl. Sunlight filters through the roof of the familys courtyard. The two men chat while enjoy a meal, and the two women stare placidly into the camera while the child investigates the cracks in the pavement and plays with a toy gun. In all, the simplicity of life is apparent in the film. Nothing traumatic or moving happens. People ride trains, work in factories and chat idly with friends in busy streets or on quiet steps. Life continues on-camera as it does off-camera. RELATED.

Filmcollectie_01 Film docsforsale_01 Docs for Sale Artboard Copy 2 Created with Sketch. Share Passengers on a train, tourists at the beach, factory workers, farmers, construction workers and students: in a series of portraits, the famous Chinese independent film director Wang Xiaoshuai ( Frozen, Beijing Bicycle, 11 Flowers) captures the state of his nation. Each portrait is a carefully composed long shot, using a static camera that captures one or more people in motionless poses. But there's always movement somewhere in the frame: not all the subjects remain still, and animals, passersby and children don't obey the protocol. The resulting scenes are fascinating, moving photographs in which there's always something more to discover. The director shows us a modern China that's a rich mix of new buildings and old courtyards, derelict industrial sites, countryside and big cities. What's most striking here is the seemingly endless amount of construction projects. This film is a motionless, non-narrative snapshot that calls a temporary halt to all this inexorable change. Credits Production Isabelle Glachant / Chinese Shadows, Xuan Liu / Front Films Co. Ltd. Executive producer QIAN Yini Cinematography WU Di, ZENG Hui, ZENG Jian, PIAO Xinghai Editing Valérie Loiseleux Show all credits IDFA history 2018 European Premiere Masters.

Source: South China Morning Post True to form, this years Busan International Film Festival in South Korea, which concluded earlier this month, once again played host to new Chinese-produced movies of various styles and stripes. On the one hand, there was mainstream fare in the shape Xu Zhengs “Dying to Survive” and Huang Bos “The Island, ” summer comedies that grossed 3. 1 billion yuan (US448 million) and 1. 4 billion yuan (US201 million) respectively. Also showing were auteur-driven works such as Jia Zhangkes “Ash is Purest White, ” which made its bow at the Cannes Film Festival in May, and Pema Tsedens “Jinpa” – a drama set in Tibet and produced by Hong Kong filmmaker Wong Kar-wai that premiered at the Venice Film Festival last month. Among these high-profile entertainers, auteurs, and rookies was an award-winning master – Wang Xiaoshuai – who chose to present his latest work in Busan without the fanfare accorded his peers. Wangs “Chinese Portrait” is a narration-free documentary comprised of hundreds of short sequences the director shot over the past decade about the everyday lives of ordinary people in China. The project began as an attempt to capture the landscapes featured in the paintings of his friend, contemporary artist Liu Xiaodong. “The first images were shot in 2009, when I went to the places where Xiaodong created his paintings, ” says Wang. “From there, I expanded the scope of what I wanted to do and went around China, creating tableaux with my cameras just like I was making a painting. I chose to shoot with film – that was the time when we were still using celluloid – and I even used a four-by-three aspect ratio, to be close to what films should be like. ” “Chinese Portrait” is a record of how China has changed over the past decade. Images of people leading provincial, traditional lives – fishermen mending their nets by the sea, potato farmers cultivating windswept fields, Buddhists and Muslims practicing their religious rituals – are juxtaposed with sequences showing modern offices, bustling urban junctions, and beaches bursting with revellers. As he has done in the past through fiction, Wang uses the documentary form to point at the disparity between rich and poor. The urban bourgeoisie are shown spending their holidays in the sun while the rural underclass pray for rain in Chinas arid interior. While not exactly offering a hard-hitting cri de coeur about the countrys problems, Wang provides plenty for the viewer to reflect on – which, in the current political climate in China, is an achievement in itself. Read the story at the South China Morning Post. Receive all of the days news every morning. Sign up for DocumentaryNews Daily.