andrew chan criterion

There’s an eerie, narcotized smile on her face, and via voice-over she declares, “I’m very happy.” It seems like a privileged moment of psychological exposure, one that teases us with a trace of the character’s inner life. Andrew Chan is web editor at the Criterion Collection. He is a frequent contributor to Film Comment and 4Columns. Andrew Chan. He is a frequent contributor to Film Comment and 4Columns. To illustrate our new series of personal essays, we’ve turned to this New York–based artist, whose gift for distilling concepts and emotions into compelling imagery was a perfect match for this ongoing project. Stories By Andrew Chan. The Criterion Channel. Review: Kendrick Lamar, Damn. Andrew Chan is web editor at the Criterion Collection. Years after releasing their initial World Cinema Project box set (featuring a number of overlooked films from around the world recently restored by Martin Scorsese’s Film Foundation) the Criterion Collection finally brings us their second volume featuring another six films.The fifth and sixth films in the set are Lutfi O. Akad’s Law of the Border and Edward Yang's Taipei Story. Kwan is one of the great living practitioners of melodrama, and his other best-loved works—the ghost story Rouge (1987) and the queer romance Lan Yu (2001)—are warm-blooded by comparison. Andrew Chan is web editor at the Criterion Collection. Andrew Chan Web editor at the Criterion Collection. Few biopics have so eloquently interrogated the very foundations of the genre: our desire for intimacy with the stars and our sense of being entitled to knowledge of their personal lives. Andrew Chan is web editor at the Criterion Collection. Aficionados of Hong Kong cinema will likely be aware that the lead role was originally meant for pop diva Anita Mui, whose brash persona and brushes with controversy might have lent the film an extra degree of appositeness. Rebecca Self. Andrew Chan is web editor at the Criterion Collection. "Judge Dredd", "The Peacemaker", "Eraser", "Money Train", & "Nine Months" are on The Worst Movies of the 1990s that Andrew Hardin Hasn't Seen on Flickchart. Produce, shoot and edit short documentaries about film culture, for the streaming service The Criterion Channel. Benjamin Lim Associate Director, New York at Able - We're Hiring! Before kicking off a week run of To Sleep with Anger at the Film Society of Lincoln Center, the influential director joined us for a conversation about how his encounters with international cinema inspired him as a filmmaker of color. Even the most conventional open up spaces for us to contemplate why our collective memories are so profoundly shaped by what we believe about public figures. Valeria Rotella But the film is no mere intellectual exercise. Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. ... Andrew Haigh United Kingdom, 2015 THE 47 RONIN: Part 1 Kenji Mizoguchi Japan, 1941 ... Jackie Chan Hong Kong, 1979 Fear of Fear Rainer Werner Fassbinder West Germany, 1975 Feeling Good The art of martial-arts filmmaking took a leap into bold new territory with this action-packed tale of Ming-dynasty intrigue. Andrew oversees The Current, Criterion’s online mag where you’ll find essays, videos, and interviews with the filmmakers of works released via Criterion. Maggie Cheung re-creates a cinema icon in Stanley Kwan’s 1991 hybrid masterpiece. Lauryn Hill and the enduring musical pleasures of the 1993 sequel. As Robert D. McFadden writes in the New York Times, as a poorly paid set photographer, Cauchetier, who passed away last week at the age of 101, “refused to stand beside a movie camera operator and take stock shots of actors, as was the custom. The Criterion Channel. More: Interviews. A trio of exceptional performances by Glenn Ford, Ernest Borgnine, and Rod Steiger form the center of Jubal, an overlooked Hollywood treasure from genre master Delmer Daves. Courtesy Film Movement Classics. Maggie Cheung re-creates a cinema icon in Stanley Kwan’s 1991 hybrid masterpiece. But the film charts this ascent reticently and elliptically. After having the emperor’s minister of defense executed, a power-grabbing eunuch sends assassins to trail the victim’s children to a remote point on the northern Chinese border. Karen Stetler Senior Producer at The Criterion Collection. Share; ... Updating an earlier Criterion edition issued in 2000, this new DVD of Cléo from 5 to 7 (available only as part of the magnificent package 4 by Agnès Varda) features a restored digital transfer, as well as the set’s largest treasure trove of supplementary material. With the debut of Me and You and Everyone We Know on the Criterion Channel, the acclaimed multi-hyphenate discusses her evolving creative process and her love of Jane Campion. Late in the film, Kwan juxtaposes Ruan’s cigarette-lighting swagger in The Goddess with Cheung’s re-creation of the same gestures; because the imitation isn’t entirely convincing, it serves as yet another reminder of the distances of time and space standing between Kwan and Cheung and their subject. Andrew Alvarez. Andrew Chan is web editor at the Criterion Collection. Picture 7/10. Film journalist Mark Harris stopped by Criterion to chat about the growing pains that five Hollywood filmmakers experienced during World War II. Greater New York City Area. https://www.criterion.com/current/posts/4628-taipei-story-modern-planning As if to disarm the skepticism of a discerning audience, unorthodox takes on the genre (like Todd Haynes’s Bob Dylan portrait I’m Not There, from 2007) tend to make a fuss about their slippery relationship to reality, resulting in a deconstructed style that runs the risk of becoming its own cliché. Explore more than 1,500 films on the Criterion Channel, with filters for genre, decade, country, and director. Criterion Designs — Jan 14, 2021 P edro Reyes is a Mexican artist of international renown whose conceptual, often sculptural works make use of unusual materials to imagine a better, more playful world. On Film / Short Takes — May 30, 2017 Seventy Years of Cannes: Dheepan in 2015. Though Center Stage isn’t explicitly political, the idea of a prestigious Hong Kong auteur meditating on his own society’s cultural kinship with mainland China was fraught in 1991, just a few years after the events at Tiananmen stoked fears about what lay ahead for the British colony after its impending handover to the PRC. Andrew Chan is web editor at the Criterion Collection. Andrew Chan. The celebrated musician dives into the culture and history captured in a new series of jazz short films on the Criterion Channel, which features performances by Duke Ellington, Louis Armstrong, Bessie Smith, and other legendary artists. The hair is white rather than the misleading yellow in the film’s restoration since the character is supposedly an “old man.” Andrew Chan Web editor at the Criterion Collection. He is a frequent contributor to Film Comment and 4Columns. Share; Tweet; ... Image/Sound/Extras: The fourth disc in The Criterion Collection’s generous and eye-opening set 4 by Agnès Varda, this is an update of an extra-less version the company released in 2000. With Edward Yang’s A Brighter Summer Day finally available in the U.S., screenwriter Hung Hung talks about his working relationship with Yang, the film’s truncated distribution and slow path to acclaim, and the real-life roots of its narrative. Center Stage also has plenty to say to those who are less tuned-in to the perilous developments in the region. For the moviemakers featured in our slate of content throughout March 2017, resourcefulness was the name of the game. In fact, for most of the film, we’re not really privy to how Ruan feels about what’s happening to her. Andrew Chan Andrew Chan is web editor at the Criterion Collection. Andrew Chan is web editor at the Criterion Collection. He is a frequent contributor to Film Comment and 4Columns. Andrew Chan Web editor at the Criterion Collection New York City Metropolitan Area. Features select scene analysis by Asian film expert Grady Hendrix, new interviews with actors Shangkuan Ling-fung and Shih Chun, and archival footage from the film’s 1967 premiere, plus a fold-out insert with an essay by critic Andrew Chan. Rumors about her entanglements with multiple men became the backdrop for her suicide at the age of twenty-four. Just as unnerving is how Center Stage evokes the loneliness of the performer, who is forever caught between the emotional transparency her art demands and the privacy she requires to protect those emotions. Dragon Inn (The Criterion … At various points throughout the movie, the director, actor, and other cast members are shown speculating about the opaque motivations of the real-life characters depicted in Center Stage, disrupting our ability to immerse ourselves in Ruan’s world. Ian Brydon. In this Shakespearean tale of jealousy and betrayal, Ford is an honorable itinerant cattleman, befriended and hired by Borgnine’s bighearted ranch owner despite his unwillingness to talk about his past. A tension between presence and absence is immediately apparent in the opening scene, in which Kwan introduces the heroine, Shanghai cinema icon Ruan Lingyu (played by Maggie Cheung), through a series of black-and-white photographs. In the wake of Burning, one of the most critically acclaimed films of last year, we caught up with the great Korean director about what keeps him going as a storyteller. The Spanish filmmaker, whose short film Mystery is featured on the Criterion Channel, discusses his love for Luis Buñuel and the influence of Catholicism on his worldview. Maggie Cheung (right) in Center Stage. Kwan and Cheung’s interpretation of the character is almost anti-psychological. Courtesy Film Movement Classics. He is a frequent contributor to Film Comment and has also written for Reverse Shot, 4Columns, Wax Poetics, and other publications. He is a frequent contributor to Film Comment and has also written for Reverse Shot, NPR Music, Slant, Wax Poetics, and other publications. He is a frequent contributor to Film Comment and 4Columns. Andrew Chan. What he set out to do with this cerebral ode to Ruan was a departure both for him and for the Hong Kong movie industry, whose signature product at the time was fast-paced entertainment. And yet, like so much else in biopics, it’s a beautiful lie. (According to Kwan, Mui bowed out of the project because her staunch prodemocracy stance made the thought of working in China after the Tiananmen Square massacre unpalatable.) And yet, despite being remembered for roles in such forward-thinking leftist classics as The Goddess (1934) and New Women (1935), Ruan was done in by the same old misogynistic indignities her characters survived. This episode opens with a special live presentation of Reverse Shot's Best of 2020 film list, a preview of the annual roundup that will post online Thursday morning. Please note: Reverse Shot Happy Hour will go on hiatus after this episode. Today, Kwan’s romantic intimations of a shared artistic lineage binding these two geopolitical entities are shrouded by the existential dread of Hong Kongers who long for an identity separate from China. The Cannes-award-winning lead performance in Lee Chang-dong’s masterful melodrama captures both the pain and perverse pleasure of public crying. Andrew Chan. I’m capping off my weeklong look at Cannes festivals past by revisiting the 2015 winner, Dheepan. Fumiko Takagi -- New York, NY. Firstly, I love cinema, and that particular film is especially and uniquely beautiful. Courtesy Film Movement Classics. Andrew Chan. Samantha Abramovitz. I f I were to list the criteria for my ideal project, creating a sculpture of Tadzio, the young boy from Death in Venice, for a Criterion release of Luchino Visconti’s adaptation would just about tick off all the boxes. But for all their predictability, biopics aren’t without their social function. The director of Black Mother explains how the twin influences of hip-hop culture and international art-house cinema brought him to his artistic calling. Andrew Alvarez Tech at Criterion. The Criterion Collection (finally) releases their second box set for Martin Scorsese’s World Cinema Project, ... Fábio Andrade on Limite, Bilge Ebiri on Law of the Border, and Andrew Chan on Taipei Story. Dragon Inn: Poised for Battle an essay by Andrew Chan at the Criterion Collection This page was last edited on 18 February 2021, at 00:51 (UTC). He is a frequent contributor to Film Comment and has also written for Reverse Shot, Slant, Wax Poetics, and other publications. Maggie Cheung in Center Stage. Andrew Chan. Highlights from this year’s stellar Toronto International Film Festival lineup echoed a handful of classics from our collection. He is a frequent contributor to Film Comment and has also written for Reverse Shot, NPR Music, Slant, Wax Poetics, and other publications. Fumiko Takagi--Karen Stetler. By Andrew Chan. The martial-arts film was never the same after King Hu got his hands on it, reinventing the genre with subtle editing and dazzling choreography. Andrew has 2 jobs listed on their profile. Ian Brydon Administrative Assistant and Cinema Scholar. But in his 1991 masterpiece, Center Stage, Stanley Kwan turns what could easily be dismissed as postmodern gimmickry into something strange and unclassifiable, an ever-shifting framework that refracts almost every biographical insight the movie puts forth. Andrew Chan is web editor at the Criterion Collection. Bridging the Gaps in … Fumiko Takagi. In Mandarin with English subtitles. Andrew Chan. Andrew Chan is web editor at the Criterion Collection. Andrew Chan is web editor at the Criterion Collection. This week’s guests are critic Mayukh Sen and Andrew Chan, web editor at The Criterion Collection. There’s no coherent, suspenseful buildup to glory, no spectacle of fanfare; celebrity isn’t sensationalized as a fallen state that warps the actor’s ego. Andrew Chan on the First Encounters series at Quad Cinema & the idea of cinema as the most profoundly communal of all art forms. In one of the most overpowering moments in any concert documentary, D. A. Pennebaker immortalized soul icon Otis Redding as both palpable presence and luminescent mystery. On Film / Short Takes — May 30, 2017 Seventy Years of Cannes: Dheepan in 2015. Manhattan’s Quad Cinema reopened last month with a series of events that highlighted the emotional immediacy that comes with the experience of watching movies for the first time. CÉLINE & JULIE GO BOATING Criterion Review: Jacques Rivette’s Masterpiece Gets A New Restoration The most scorned of all film genres is routinely accused of not only playing fast and loose with the truth but also of being just plain boring. Seven years into a successful career, Cheung was best known for costarring with Jackie Chan in Police Story (1985), and she’d never been given a role as enigmatic and complex as this. Maggie Cheung in Center Stage. Courtesy Film Movement Classics. Having learned fast-paced spontaneity as a combat photographer in the French Indochina War, he turned his camera toward the directors and … ... Andrew Haigh United Kingdom, 2015 THE 47 RONIN: Part 1 Kenji Mizoguchi Japan, 1941 ... Jackie Chan Hong Kong, 1979 Fear of Fear Rainer Werner Fassbinder West Germany, 1975 Feeling Good Andrew Chan Web editor at the Criterion Collection New York City Metropolitan Area. What does a biopic have to do to be trustworthy? Ruan Lingyu in Center Stage. Even as the preproduction conversations between Kwan and his cast take the form of studious research, they still revolve around the paraphernalia of a gossip industry that capitalizes on those same appetites—inert artifacts and secondhand accounts that turn Ruan into a mannequin of history. Get info about new releases, essays and interviews on the Current, Top 10 lists, and sales. He is a frequent contributor to Film Comment and 4Columns. Center Stage, directed by Stanley Kwan, available to watch via Metrograph, March 12–April 1, 2021. Before his current gig, Andrew was the marketing manager at BAMcinématek, the film department of BAM, … Benjamin Lim. Rebecca Self. By Andrew Chan. The accompanying essay “Posed for Battle” by Andrew Chan opens like a pamphlet with an artistic illustration of Bai Ying’s evil eunuch dominating the heroic fighters battling his minions. Ruan is a teenager in these images, but what they convey is not her youth but an overwhelming sense of the antique, a world not easily fathomed by contemporary minds. Valeria Rotella. Where most biopics hinge on moments when the private self suddenly leaks into public visibility, Center Stage avoids fabricating any scenario that might offer a convenient key to the heart of Ruan. Gian Galang Summons the Kinetic Energy of a Martial-Arts Icon. Explore more than 1,500 films on the Criterion Channel, with filters for genre, decade, country, and director. The pragmatic and the spiritual: meditations on cinema by the late critic Gilberto Perez. Andrew Chan. With a new film in theaters and two early works on the Criterion Channel, the Chinese wunderkind talks with us about the challenges he’s faced while forging his idiosyncratic path through cinema. Inside Criterion / Criterion Designs — Aug 13, 2020 Studio Visits. The week before Get Out opened to groundbreaking box-office success, we spoke with the director about the fine line between comedy and horror. With her acclaimed new film Western opening in theaters this week, we spoke with German director Valeska Grisebach on the romantic ideals of the quintessential American genre. By Andrew Chan. Fumiko Takagi -- New York, NY. Andrew Chan is web editor at the Criterion Collection. He is a frequent contributor to Film Comment and has also written for Reverse Shot, NPR Music, Slant, Wax Poetics, and other publications. A thought-provoking experiment in cinematic form, the new film by Michael Koresky, Jeff Reichert, and Farihah Zaman meditates on the power of food and community through an innovative mix of truth and fiction. But Sinophone cinephiles in the ’90s would have at least known her by name, and by the scandal that consumed the final years of her too-short life. Laura Florin. The chasm between what makes it to the screen and what gets left out is both a problem of the form and one of its main attractions. As the camera moves fetishistically across the photos’ washed-out surfaces, Ruan’s face is barely perceptible, radiating a white, spectral glow where her features should be. The award-winning director of Shirkers looks back on her memories of growing up as a rebellious teenage cinephile and the movie-besotted culture of her native Singapore. With his debut short film, Zoo, now on the Criterion Channel, the Montreal-based filmmaker talks with us about its depiction of police brutality and … Grittier and less imperious than Greta Garbo or Marlene Dietrich, to whom she was frequently compared, she was one of the most captivating screen presences of the late silent era, and she came to symbolize a wave of liberationist, proto-feminist energy that animated Shanghai in the ’30s. https://stetmag.com/interviews/andrew-chan-film-criticism-criterion-collection New Taiwan Cinema master Edward Yang’s sophomore feature explores the conflict between tradition and modernity reflected in a relationship on the rocks. I’m capping off my weeklong look at Cannes festivals past by revisiting the 2015 winner, Dheepan. Andrew Chan is web editor at the Criterion Collection. Martha Karsh, editor of The Beatles A Hard Day’s Night: A Private Archive, published in September by Phaidon, talks about her family’s Beatlemania and assembling a book about the world’s most famous rock band. Nevertheless, the mismatch between Ruan’s rebel spirit and Cheung’s bright, open-faced demeanor holds a disorienting power. Andrew Chan on the First Encounters series at Quad Cinema & the idea of cinema as the most profoundly communal of all art forms. The pragmatic and the spiritual: meditations on cinema by the late critic Gilberto Perez. He is a frequent contributor to Film Comment and has also written for Reverse Shot, NPR Music, Slant, Wax Poetics, and other publications. In one of the most haunting images in the film, Ruan is seen on a dance floor, swaying and shimmying solo in the middle of a crowd. He is a frequent contributor to Film Comment and has also written for Reverse Shot, 4Columns, Wax Poetics, and other publications. Andrew Chan Web editor at the Criterion Collection New York City Metropolitan Area. He is a frequent contributor to Film Comment and 4Columns. Share; Tweet; ... Image/Sound/Extras: The fourth disc in The Criterion Collection’s generous and eye-opening set 4 by Agnès Varda, this is an update of an extra-less version the company released in 2000. Fumiko Takagi. When Center Stage was made, a great deal of Ruan’s work had been lost to time. The artist behind the images in our upcoming Bruce Lee box set shows us how he captured the legend’s most iconic poses. All this might sound forbiddingly insular, which may be why Center Stage has become a staple of cinema-studies curricula: its self-reflexive method invites viewers to consider the subtlest permutations of form and meaning, as well as the medium’s twin capacities for revelation and deception. On their way back to Mumbai, the filmmaking pair dropped in for a chat about their film The Cinema Travellers, which documents the last traveling-cinema exhibitors of the western Indian state of Maharashtra. Ambition and triumph, downfall and redemption: these are the tropes that turn unwieldy life stories into digestible moral lessons.

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