Andrew Alvarez. 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. Courtesy Film Movement Classics. But the film charts this ascent reticently and elliptically. Andrew Chan Web editor at the Criterion Collection New York City Metropolitan Area. 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. Center Stage also has plenty to say to those who are less tuned-in to the perilous developments in the region. Rebecca Self. 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. Andrew Chan Web editor at the Criterion Collection New York City Metropolitan Area. Andrew oversees The Current, Criterion’s online mag where you’ll find essays, videos, and interviews with the filmmakers of works released via Criterion. 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 Alvarez Tech at Criterion. Andrew Chan is web editor at the Criterion Collection. Andrew Chan is web editor at the Criterion Collection. 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. Fumiko Takagi. 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. Fumiko Takagi. Maggie Cheung re-creates a cinema icon in Stanley Kwan’s 1991 hybrid masterpiece. 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. Valeria Rotella I’m capping off my weeklong look at Cannes festivals past by revisiting the 2015 winner, Dheepan. 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. Produce, shoot and edit short documentaries about film culture, for the streaming service The Criterion Channel. He is a frequent contributor to Film Comment and 4Columns. 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. 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. Before his current gig, Andrew was the marketing manager at BAMcinématek, the film department of BAM, … When Center Stage was made, a great deal of Ruan’s work had been lost to time. 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. Gian Galang Summons the Kinetic Energy of a Martial-Arts Icon. 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. 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. 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. Inside Criterion / Criterion Designs — Aug 13, 2020 Studio Visits. Kwan and Cheung’s interpretation of the character is almost anti-psychological. Courtesy Film Movement Classics. This week’s guests are critic Mayukh Sen and Andrew Chan, 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. He is a frequent contributor to Film Comment and 4Columns. Andrew Chan. Karen Stetler Senior Producer at The Criterion Collection. 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. But the film is no mere intellectual exercise. The Cannes-award-winning lead performance in Lee Chang-dong’s masterful melodrama captures both the pain and perverse pleasure of public crying. 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. Explore more than 1,500 films on the Criterion Channel, with filters for genre, decade, country, and director. 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. 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. He is a frequent contributor to Film Comment and 4Columns. 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 … Highlights from this year’s stellar Toronto International Film Festival lineup echoed a handful of classics from our 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. The pragmatic and the spiritual: meditations on cinema by the late critic Gilberto Perez. New Taiwan Cinema master Edward Yang’s sophomore feature explores the conflict between tradition and modernity reflected in a relationship on the rocks. Andrew Chan Andrew Chan is web editor at the Criterion Collection. Maggie Cheung in Center Stage. He is a frequent contributor to Film Comment and has also written for Reverse Shot, 4Columns, Wax Poetics, and other publications. Andrew Chan. Andrew Chan is web editor at the Criterion Collection. Valeria Rotella. Center Stage, directed by Stanley Kwan, available to watch via Metrograph, March 12–April 1, 2021. 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. 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. He is a frequent contributor to Film Comment and has also written for Reverse Shot, Slant, Wax Poetics, and other publications. 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. 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. Center Stage’s most daring gambit is its hybrid form, which combines the dreamy narrative space of a period drama with unglamorous behind-the-scenes footage chronicling the collaboration between Kwan and Cheung. Courtesy Film Movement Classics. 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. 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. Explore more than 1,500 films on the Criterion Channel, with filters for genre, decade, country, and director. On Film / Short Takes — May 30, 2017 Seventy Years of Cannes: Dheepan in 2015. 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. Rebecca Self. 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. 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. Firstly, I love cinema, and that particular film is especially and uniquely beautiful. Andrew Chan. He is a frequent contributor to Film Comment and 4Columns. Fumiko Takagi--Karen Stetler. Andrew Chan Web editor at the Criterion Collection New York City Metropolitan Area. Courtesy Film Movement Classics. Andrew Chan is web editor at the Criterion Collection. View Andrew Chan’s profile on LinkedIn, the world's largest professional community. CÉLINE & JULIE GO BOATING Criterion Review: Jacques Rivette’s Masterpiece Gets A New Restoration He is a frequent contributor to Film Comment and 4Columns. Greater New York City Area. (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.) Benjamin Lim. Andrew has 2 jobs listed on their profile. Andrew Chan is web editor at the Criterion Collection. Andrew Chan on the First Encounters series at Quad Cinema & the idea of cinema as the most profoundly communal of all art forms. Maggie Cheung (right) in Center Stage. Cheung’s poised, often exquisite performance generates its own dissonance. 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. Nevertheless, the mismatch between Ruan’s rebel spirit and Cheung’s bright, open-faced demeanor holds a disorienting power. Benjamin Lim Associate Director, New York at Able - We're Hiring! He is a frequent contributor to Film Comment and 4Columns. https://www.criterion.com/current/posts/4628-taipei-story-modern-planning ... 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 Dragon Inn (The Criterion … Stories By Andrew Chan. Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. He is a frequent contributor to Film Comment and 4Columns. 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. Center Stage narrows its focus to 1931–1935, Ruan’s peak years at the Lianhua Film Company, where she shifted away from lowbrow genre fare to the ambitious revolutionary pictures that cemented her reputation. Andrew Chan. Andrew Chan Web editor at the Criterion Collection. Ruan Lingyu in Center Stage. He is a frequent contributor to Film Comment and has also written for Reverse Shot, NPR Music, Slant, Wax Poetics, and other publications. 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. The Criterion Channel. Film journalist Mark Harris stopped by Criterion to chat about the growing pains that five Hollywood filmmakers experienced during World War II. 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. 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. Having learned fast-paced spontaneity as a combat photographer in the French Indochina War, he turned his camera toward the directors and … 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. Review: Kendrick Lamar, Damn. 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. Fumiko Takagi. What does a biopic have to do to be trustworthy? Andrew Chan is web editor at the Criterion Collection. The hair is white rather than the misleading yellow in the film’s restoration since the character is supposedly an “old man.” 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. By Andrew Chan. Lauryn Hill and the enduring musical pleasures of the 1993 sequel. Laura Florin. 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. Ambition and triumph, downfall and redemption: these are the tropes that turn unwieldy life stories into digestible moral lessons. Explore more than 1,500 films on the Criterion Channel, with filters for genre, decade, country, and director. The artist behind the images in our upcoming Bruce Lee box set shows us how he captured the legend’s most iconic poses. Andrew Chan. He is a frequent contributor to Film Comment and has also written for Reverse Shot, Slant, Wax Poetics, and other publications. 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. Andrew Chan is web editor at the Criterion Collection. 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. The dense visual style contributes to this destabilizing effect: swirling, Art Nouveau–like patterns dominate the interiors; cityscapes appear, on close inspection, to be painted backdrops, reminiscent of Expressionist silent films; and in one early scene, the action of a movie set is observed through the roof of a glass structure, as if Ruan were a plant in a greenhouse. Andrew Chan. Andrew Chan is web editor at the Criterion Collection. Bridging the Gaps in … Andrew Chan is web editor at the Criterion Collection. 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. 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.
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