NYC Happenings: "Luminosity: The Art Of Cinematographer Mark Lee Ping-bing" Celebrates A Master Sculptor of Light

Featured Critic; New York City, New York
NYC Happenings: "Luminosity: The Art Of Cinematographer Mark Lee Ping-bing" Celebrates A Master Sculptor of Light

Sometimes, artistic appreciation is a kind of spiritual balm.

When I was young, I trained myself to observe and to learn from all kinds of exhibitions, especially of color images. During that process, I fell in love with Chinese paintings and porcelain because of the culture they represent. What Chinese paintings try to do is manifest poetry through images and vice versa. The poetic and the visual are unified in a very cinematic way. Chinese paintings are full of infinite imagination and melodious lyrics.

Porcelain is very similar. Each piece shows the craftsman’s skill and his touch. I can feel the presence of the craftsman in the piece. Every time I get to appreciate works like this, my determination is renewed and I am inspired to continue my journey.

– From an interview with Mark Lee Ping-bing, included in the book Hou Hsiao-hsien, edited by Richard I. Suchenski

The above quote perfectly encapsulates the philosophy behind the exquisite work of master cinematographer Mark Lee Ping-bing, which will be celebrated by the Museum of Modern Art’s retrospective “Luminosity: The Art of Cinematographer Mark Lee Ping-Bing,” which screens from June 16-30.

For over three decades, Lee has proved himself a master of light and shadow, instrumental in creating some of the most beautiful images ever to grace cinema screens. Always committed to fully executing the visions of the directors who employ him, yet placing his personal stamp on the material, Lee has been a highly sought after cameraman, lensing films in not only his native Taiwan, but also in Hong Kong, Vietnam, Japan, China, and France, among many other locales.

Lee was a key figure in the Taiwan New Cinema movement of the 1980’s, and his longest – and arguably most fruitful – collaboration is with director Hou Hsiao-hsien, with whom he has made 10 features, from A Time to Live and a Time to Die (1985) and Dust in the Wind (1986), through their most recent film The Assassin (2015). 

Together, they perfected a style of filmmaking that utilized natural light, and beautifully choreographed long takes and camera movements that fully conveyed the emotions of the characters and the moods of the time periods in which their films were set. (As Hou almost never used detailed scripts, storyboards, or shot lists, Lee was often left to his own devices while lighting and setting up shots.)

The realistic atmospheres of their first films soon transformed into more stylized worlds, beginning with Flowers of Shanghai (1998), whose single-take tableaus immerse viewers fully into a sensual, interiorized world, employing a style that Lee called “glamorous realism.” Their later films pushed this style further, in such works as Millennium Mambo (2001) and Three Times (2005).

Lee’s work for other filmmakers are just as impressive and amazingly varied, exploring such worlds as the swooning, doomed romance of Wong Kar-wai’s In the Mood for Love (2000; also shot by Christopher Doyle), the tricky, intricate timelines of Ivy Ho’s Claustrophobia (2008), the dreamy, sun-dappled Vietnam landscapes of Tran Anh Hung’s The Vertical Ray of the Sun (2000), and the candy-colored musical choreography of Jay Chou’s The Rooftop (2013).

In Mark Lee Ping-bing’s immensely capable hands, the film camera is more than simply a recording device; it’s much more akin to an artist’s brush, finding almost infinite depths of light and shadow, illuminating the exterior and interior lives of the characters caught by his camera, and vividly making real to us their dramas and their stories. Therefore, one can hardly think of a more appropriate cinematographer to bring to life the landscapes of the famous impressionist painter who is the subject of Gilles Bourdos’ biopic Renoir (2012).

More than a mere technician, Lee is a true artist, as this retrospective amply demonstrates. Lee will make some appearances during the first weekend, beginning by introducing his latest collaboration, Yang Chao’s Crosscurrent (2016), on June 16 at 7pm. Lee will also participate in a Q&A following the June 17, 7:30pm screening of Flowers of Shanghai, as well as a conversation on his life and career on June 18, 5pm, both talks moderated by the retrospective’s curator La Frances Hui.

It’s almost a guarantee that whenever any of these films are playing, they’ll contain some of the loveliest images playing anywhere in town. Full details on the retrospective are below. For more information, and to purchase tickets, visit the Museum of Modern Art’s website.

 

The Museum of Modern Art presents the first American retrospective of the films of Mark Lee Ping-Bing, one of the world’s foremost cinematographers, in Luminosity: The Art of Cinematographer Mark Lee Ping-Bing, from June 16 to June 30, 2016, in the Roy and Niuta Titus Theaters. In a career that spans over three decades, his exquisite presentation of light, shadow, color, graceful camera movement, and arresting compositions bring to the forefront cinematography’s central role in the creation of motion pictures. Lee is a master of filming in natural- and low-light conditions, revealing dense, lustrous layers of light and darkness that provide incredible depth and space. Each frame allows viewers to immerse themselves in rich visual landscapes, whether naturalistic or highly stylized. In films such as Flowers of Shanghai (1998), In the Mood for Love (2000), Springtime in a Small Town (2002), and The Assassin (2015), Lee’s seductive, observant long takes mark subtle emotional transformations and inject distinctive rhythmic shifts. He has shot primarily on film throughout his career, and remains among a small number of cinematographers who continue to use this medium today. The exhibition is organized by La Frances Hui, Associate Curator, Department of Film.

 
An essential partner to the directors he works with, Lee is best known for his longtime
collaboration with director Hou Hsiao-Hsien. In the 10 award-winning features they’ve made
together, the duo has defined a vision for Taiwan New Cinema realism. Lee has also collaborated with such celebrated filmmakers as Wong Kar Wai, Tran Anh Hung, Tian Zhuangzhuang, and Ann Hui, and his work has won him numerous international honors, most recently a Silver Bear for Outstanding Artistic Contribution at the 2016 Berlinale, for Crosscurrent. For this first American retrospective of Lee’s work, MoMA presents a diverse group of films from Taiwan, Hong Kong, China, Vietnam, Japan, and France.
 
The series opens on June 16 with the North American preview of Lee’s latest film, Crosscurrent (2016). Directed by Yang Chao, Crosscurrent tells the story of Chun, a cargo boat captain who recently lost his father and comes across a notebook filled with poems by an unknown author. Each poem is accompanied by the name of a port city along the Yangtze River—also known as the cradle of Chinese civilization—on which Chun is sailing. During his trip, the river and its surroundings enter into a dreamlike time warp, where past and future flash in front of Chun at each turn. As his boat stops at each port, Chun encounters the same woman, who becomes younger each time she appears.
 
On June 17, Lee will participate in a Q&A with curator La Frances Hui following the screening of Flowers of Shanghai (1998). A collaboration with Hou Hsiao-Hsien, this Taiwanese film is composed of fewer than 40 takes and was shot entirely in interiors with minimal light. The film takes place in late-19th-century Shanghai, when brothels were known as “flower houses.” The film follows several of the courtesans and their relationships with their male clientele, all in the confined space of the brothel. A departure for the director-cinematographer duo—known to this point for their realistic portrayals of Taiwanese life—Flowers of Shanghai experiments with a different kind of realism, one that captures every detail of an illusory world.
 
In the Mood for Love (2000), one of cinema’s most memorable and tragic onscreen romances, is at once sensational and devastating. Set in 1960s Hong Kong, the film follows the story of two neighbors who discover their spouses’ infidelity and embark on a friendship that leads to a deep connection. While the idea of seduction permeates every second of their interactions, the pair's forbidden love is consummated only in their imaginations. Sharing the cinematography credit, Mark Lee Ping-Bing and Christopher Doyle capture lustrous colors and sensual movements that evoke a memory spectacularly felt, but never fully realized. In 2000, Lee and Doyle won the Grand Technical Prize at Cannes for their work on the film.
 
Only one film in this series—Norwegian Wood (2010)—was shot digitally. Directed by Tran Anh Hung, the film is an adaptation of Haruki Murakami’s cult classic coming-of-age novel. Set in 1960s Japan, the film follows college student Toru as he navigates between relationships with two very different women—the depressive Naoko and the rambunctious Midori. Although Midori’s vibrancy is irresistible, Toru is increasing drawn to Naoko, who has admitted herself into a remote rehabilitation center in the woods. Reuniting with Vietnamese French director Tran Anh Hung, with whom he worked on The Vertical Ray of the Sun (2000), Lee captures a desolate psychological landscape with some of the most stylized and evocative camera movement of his career.
 
While every other film in the series features Lee’s cinematography work, Let the Wind Carry Me (2010) turns the camera on Lee himself. Directed by Chiang Hsiu-Chiung and Kwan Pun-Leung, the documentary follows Lee for three years, tracking his life on film sets around the world, and offering incredible insight into his work behind the camera and his collaborations with directors Hou Hsiao-Hsien, Wong Kar Wai, Tran Anh Hung, and others.
 
 
Luminosity: The Art of Cinematographer Mark Lee Ping-Bing Screening Schedule
 
Thursday, June 16
 
7:00 Crosscurrent. 2016. China. Directed by Yang Chao. With Qin Hao, Xin Zhilei. DCP. In Mandarin; English subtitles. 116 min. Chun (Qin Hao), a cargo boat captain who recently lost his father, comes across a notebook filled with poems by an unknown author, in which each poem is accompanied by the name of a port city along the Yangtze River. As his boat sails upstream and stops at each port, Chun encounters the same woman over and over again, though each time she appears, she becomes younger. The Yangtze, known as the cradle of Chinese civilization, also enters a dreamlike time warp of sorts, as its past and future flash in front of Chun at each turn. Shot in 35mm, this visually stunning feature won Lee a Silver Bear for Outstanding Artistic Contribution at Berlinale 2016. North American Preview. Introduced by Mark Lee Ping-Bing.
 
Friday, June 17
 
5:30 Strawman. 1987. Taiwan. Directed by Wang Tung. With Chang Chun-Fang, Ke Jun-Xiong, Lin Meijiao, Yang Kuei-Mei. 35mm. In Mandarin, Min Nam, and Japanese; English subtitles. 94 min. In 1940s Taiwan, a small Japanese military marching band ceremoniously arrives at an impoverished farming village to return the remains of Taiwanese soldiers who died fighting in a war far from home. The Japanese occupation (1895–1945) is nearing its end, but the villagers are less concerned with colonial politics than with feeding their families. One day, an American bomb falls onto a field, where it lies unexploded. Oblivious to the potential danger, two clownish brothers excitedly carry it into town hoping to be rewarded by the Japanese general. The journey is filled with slapstick humor as the two escape multiple near-death scenarios. A classic of the Taiwan New Cinema, Strawman is a black comedy that brings into sharp focus the absurdity of life under occupation. Print courtesy of Taiwan Film Institute.
 
7:30 Flowers of Shanghai. 1998. Taiwan. Directed by Hou Hsiao-Hsien. With Tony Leung Chiu Wai, Hada Michiko, Carina Lau Ka Ling, Jack Kao, Michelle Reis. 35mm. In Shanghainese; English subtitles. 113 min. In late-19th-century Shanghai, brothels are known as “flower houses.” A small and confined world unto themselves, the brothels offer an alternate universe for the well-to-do male clientele. But for the women who work within, the brothels are no fantasyland; they either succumb to this reality or fight against destiny. A departure for the director-cinematographer duo—known to this point for their realistic portrayals of Taiwanese life—Flowers of Shanghai experiments with a different kind of realism, one that captures every detail of an illusory world. Composed of fewer than 40 takes and shot entirely in interiors with minimal light, this cinematographic tour de force glitters in gold and surreal beauty. Followed by a Q&A with Mark Lee Ping Bing.
 
Saturday, June 18
 
2:30 Dust in the Wind. 1986. Taiwan. Directed by Hou Hsiao-Hsien. With Wang Ching-Wen, Hsin Shu-Fen, Li Tien-Lu. 35mm. In Taiwanese; English subtitles. 110 min. A mesmerizing tracking shot, taken from the front of a train, opens Dust in the Wind. Emerging from a pitch-black tunnel, we see bright, green, mountainous terrain in the countryside of Taiwan. As the train goes in and out of tunnels, we are transported between an urban Taipei and a rural mining village. Two young lovers from this village give up high school to work in the big city, in a nostalgic portrayal of the changing Taiwan of the early 1970s, where modernization creates disturbances in traditional life. Dust in the Wind marks the second collaboration between Hou Hsiao-Hsien and Lee, who together would continue to make the films about ordinary life that formed the basis of the Taiwan New Cinema movement.
 
5:00 A Conversation with Cinematographer Mark Lee Ping-Bing
In a career that spans over three decades, Mark Lee Ping-Bing (b. 1954) has distinguished himself as one of the world’s foremost cinematographers and moving-image creators. Lee discusses his artistic vision, innovations in cinematography, behind-the-scenes stories, and collaborations with film directors in this conversation with La Frances Hui, Associate Curator, Department of Film. Film excerpts are included in this program.
 
7:30 Springtime in a Small Town. 2002. China. Directed by Tian Zhuangzhuang. With Wu Jun, Hu Jingfan, Xin Baiqing. 35mm. In Mandarin; English subtitltes. 116 min. Far more than a mere classic, Fei Mu's 1948 black-and-white Spring in a Small Town is lauded by some as the greatest Chinese film ever made. Set in the late 1940s, the film depicts a desolate existence, with ghostly figures inhabiting a town in ruin, ravaged by the Japanese invasion and an ongoing civil war. Three people—two men and a woman—are caught in a love triangle, but little is revealed, said, or done, as the three lifelessly dance around each other. Tian Zhuangzhuang's color remake marks a comeback for the director, who was banned from making films after the release of The Blue Kite (1993), which dealt with the political upheavals of the past decades. Lee's cinematography captures a physical and psychological landscape of full devastation. His long takes—sometimes as long as one take per scene and shot under extreme low-light conditions—are mesmerizing, and we witness the characters plunging deeper and deeper into the dark.
 
Sunday, June 19
 
2:30 Let the Wind Carry Me. 2010. Taiwan. Directed by Chiang Hsiu-Chiung, Kwan Pun-Leung. HDCAM. In Mandarin and Cantonese; English subtitles. 90 min. After completing his compulsory military service, the young Mark Lee Ping-Bing took an enrollment exam for a training program at the Central Motion Pictures Company (CMPC), in which more than 2,000 people competed for twenty-odd spaces. Initially placed on the waitlist, Lee was admitted into the program and embarked on a journey that would change his life. Documentary filmmakers Chiang Hsiu-Chiung and Kwan Pun-Leung followed Lee for three years to track his life on film sets around the world, offering incredible insight into his work behind the camera and his collaborations with directors including Hou Hsiao-Hsien, Wong Kar Wai, and Tran Anh Hung.
 
4:30 The Vertical Ray of the Sun. 2000. Vietnam/France. Directed by Tran Anh Hung. With Tran Nu Yên-Khê, Nhu Quynh Nguyen, Le Khanh. 35mm. In Vietnamese; English subtitles. 112 min. Impossibly enchanting creatures inhabit a dreamlike Hanoi, where three ravishing sisters, embodying different stages of womanhood, live their routines filled with laughter, food, and unparalleled natural beauty. The scene-stealer is the seductive youngest sister Lien, played by Tran Nu Yên-Khê (The Scent of Green Papaya 1993), who shares a sun-drenched bohemian apartment with her handsome brother. Each morning the two perform their morning ritual like a couple locked in a flirtatious waltz. Yet underneath the picture-perfect surface are disturbances threatening to intrude the delicate harmony. Lee and director Tran Anh Hung conjure a hypnotic world flooded with brilliant color and radiant light, making The Vertical Ray of the Sun a total sensual experience.
 
Monday, June 20
 
5:00 Renoir. 2012. France. Directed by Gilles Bourdos. With Vincent Rottiers, Christa Théret, Michel Bouquet. 35mm. In French; English subtitles. 111 min. Auguste Renoir and his son Jean are known to the world as the famous French painter and filmmaker, respectively. Little, though, is known about the woman who played a role in both of their careers. Amid the throes of the First World War, Auguste, already a successful Impressionist painter, hires the young, free-spirited Andrée Heuschling, later known as Catherine Hessling, to pose for him. When the 21-year-old Jean returns to their countryside home from the battlefront, injured and uncertain of his vocation, he is enchanted by the self-assured Andrée, who will one day become instrumental in jumpstarting his filmmaking career. Lee's cinematography is like paint on a canvas, capturing the lushness of the countryside and the radiating beauty of Andrée, and bringing to life the scenery and figures immortalized in Auguste's canvases.
 
7:30 In the Mood for Love. 2000. Hong Kong. Directed by Wong Kar Wai. With Tony Leung Chiu Wai, Maggie Cheung Man Yuk. 35mm. In Cantonese; English subtitles. 98 min. One of the most memorable and tragic onscreen romances, the story of Mr. Chow (Tony Leung Chiu Wai) and Mrs. Chen (Maggie Cheung) is at once sensational and devastating. Two people find each other when they realize their spouses are having an affair with each other. While a seductive mood permeates every second and grain of the film, the pair's forbidden love is consummated only in the imagination. Sharing the cinematography credit, Mark Lee Ping-Bing and Christopher Doyle capture lustrous colors and sensual movements that evoke a memory spectacularly felt, but never fully realized. In the Mood for Love is considered by many to be Wong Kar Wai’s most accomplished work.
 
Tuesday, June 21
 
5:00 Claustrophobia. 2008. Hong Kong. Directed by Ivy Ho. With Karena Lam, Ekin Cheung, Eric Tsang. 35mm. In Cantonese; English subtitles. 100 min. In multiple flashbacks, Claustrophobia tells the story of Tom (Ekin Cheung), the married manager of a five-person marketing team, and Pearl (Karena Lam), one of his team members. Spending day and night working together, they develop feelings for each other over time. Using flashbacks as a storytelling device, Ivy Ho, an award-winning screenwriter (Comrades, Almost a Love Story) in her directorial debut, brings us back in time to stages of this inevitable, yet ambiguous, relationship. Cinematographer Lee films in confined spaces, where the two characters are often found trapped together, to convey a sense of claustrophobia and inescapable romantic attraction.
 
7:30 Norwegian Wood. 2010. Japan. Directed by Tran Anh Hung. With Kenichi Matsuyama, Rinko Kikuchi, Kiko Mizuhara. DCP. In Japanese; English subtitles. 133 min. In this adaptation of celebrated novelist Haruki Murakami’s coming-of-age cult classic set in 1960s Japan, college student Toru (Kenichi Matsuyama) is caught between two women of polarizing personalities—the depressive Naoko (Rinko Kikuchi) and the rambunctious Midori (Kiko Mizuhara). Although Midori’s vibrancy is irresistible, Toru is increasing drawn to Naoko, who has admitted herself into a remote rehabilitation center in the woods. Reuniting with Vietnamese French director Tran Anh Hung, with whom he worked on The Vertical Ray of the Sun (2000), Lee makes his first digitally shot film, capturing a desolate psychological landscape with some of the most stylized and evocative camera movements of his career.
 
Wednesday, June 22
 
5:00 The Rooftop. 2013. Taiwan/China/Hong Kong. Directed by Jay Chou. With Jay Chou, Li Xinai, Eric Tsang, Kenny Bee. DCP. In Mandarin; English subtitles. 120 min. Known in the West for playing Kato alongside Seth Rogen in Michel Gondry’s The Green Hornet (2011), Jay Chou is well known in Asia as a star singer-songwriter. In his second film as director, Chou brings to the screen a bubblegum musical extravaganza bursting with song, dance, kung-fu, slapstick, and puppy love. In an imaginary fantasyland called Galilee City, Gao (Chou), who lives in a rooftop working-class community of charming and goofy characters, dreams of falling in love with the gorgeous model pictured on the billboard across from his home. A chance encounter brings the two together, but this forbidden romance faces insurmountable obstacles. Departing from his more austere repertoire, Lee—in his second collaboration with Chou, after Secret (2007)—proves his versatility by bringing to life this rowdy, candy-colored musical. DCP courtesy of Taiwan Film Institute.
 
7:30 Eighteen Springs. 1997. Hong Kong/China. Directed by Ann Hui. With Jacqueline Wu Chien-lien, Leon Lai Ming, Ge You, Anita Mui. 35mm. In Mandarin; English subtitles. 126 min. In 1930s Shanghai, Manjing (Jacqueline Wu Chien-lien) and Shijun (Leon Lai Ming) meet at work and fall in love. Manjing’s formerly well-off family has fallen on hard times, and her older sister Manlu (Anita Mui) has been working as a prostitute to support the family. Manlu's scandalous activities are predictably a source of tension in the lovers’ relationship; as fate brings the two together, it also finds ways to pull them apart. Adapted from a popular novel by Eileen Chang, Eighteen Springs tells the tragic tale of two lovers who seem perpetually at odds with destiny. Lee's camera infuses the screen with melancholia and longing in one of three films he made with Ann Hui, the most successful female director in Chinese cinema.
 
Thursday, June 23
 
5:00 The Assassin. 2015. Taiwan/China/Hong Kong. Directed by Hou Hsiao-Hsien With Shu Qi, Chang Chen, Sheu Fang-Yi. DCP. In Mandarin; English subtitles. 105 min. Chaos reigns in ninth-century China as multiple warlords vie for position. Yinniang (Shu Qi) left her family at an early age to follow her aunt, a nun who trained her to be an assassin specializing in eliminating corrupt government officials. Noticing her niece’s hesitation during assassinations, the nun assigns Yinniang to kill warlord Tian Ji’an (Chang Che), to whom Yinniang was once betrothed. Director Hou Hsiao-Hsien reimagines and deconstructs the wuxia (swordplay) genre—visual details replace grand gestures, killer instinct is thwarted, and fight scenes, brief and precise, are stripped down to the bare minimum. Lee's cinematography captures a trance-like, ephemeral world sparkling in crimson and gold. The Assassin is both a technical and formal triumph.
 
7:30 The Rooftop. 2013. Taiwan/China/Hong Kong. Directed by Jay Chou. With Jay Chou, Li Xinai, Eric Tsang, Kenny Bee. DCP. In Mandarin; English subtitles. 120 min. 
 
Friday, June 24
 
4:30 Norwegian Wood. 2010. Japan. Directed by Tran Anh Hung. With Kenichi Matsuyama, Rinko Kikuchi, Kiko Mizuhara. DCP. In Japanese; English subtitles. 133 min.
 
7:30 The Assassin. 2015. Taiwan/China/Hong Kong. Directed by Hou Hsiao-Hsien With Shu Qi, Chang Chen, Sheu Fang-Yi. DCP. In Mandarin; English subtitles. 105 min. 
 
Saturday, June 25
 
2:00 Dust in the Wind. 1986. Taiwan. Directed by Hou Hsiao-Hsien. With Wang Ching-Wen, Hsin Shu-Fen, Li Tien-Lu. 35mm. In Taiwanese; English subtitles. 110 min. 
 
4:30 The Puppetmaster. 1993. Taiwan. Directed by Hou Hsiao-Hsien. With Li Tien-Lu, Lim Giong. 35mm. In Taiwanese; English subtitles. 142 min. The first Taiwanese film to enter competition at Cannes (where it won the Jury Prize), The Puppetmaster tells the true story of Li Tien-Lu, a celebrated hand-puppeteer who lived through tumultuous times of the 20th century, including Taiwan’s long occupation by Japan (1895–1945). Scenes from Li’s childhood and early adulthood are intercut with puppet performances and with Li himself sitting charmingly in front of the camera, recounting a life filled with suffering, death, survival, and humor. The complex narrative is masterfully constructed to tell the tale of an exceptionally talented and charismatic man swept up in the tidal wave of history.
 
7:30 Strawman. 1987. Taiwan. Directed by Wang Tung. With Chang Chun-Fang, Ke Jun-Xiong, Lin Meijiao, Yang Kuei-Mei. 35mm. In Mandarin, Min Nam, and Japanese; English subtitles. 94 min. 
 
Sunday, June 26
 
2:30 Renoir. 2012. France. Directed by Gilles Bourdos. With Vincent Rottiers, Christa Théret, Michel Bouquet. 35mm. In French; English subtitles. 111 min. 
 
5:00 Claustrophobia. 2008. Hong Kong. Directed by Ivy Ho. With Karena Lam, Ekin Cheung, Eric Tsang. 35mm. In Cantonese; English subtitles. 100 min. 
 
Monday, June 27
 
6:00 Let the Wind Carry Me. 2010. Taiwan. Directed by Chiang Hsiu-Chiung, Kwan Pun-Leung. HDCAM. In Mandarin and Cantonese; English subtitles. 90 min. 
 
Tuesday, June 28
 
7:30 The Vertical Ray of the Sun. 2000. Vietnam/France. Directed by Tran Anh Hung. With Tran Nu Yên-Khê, Nhu Quynh Nguyen, Le Khanh. 35mm. In Vietnamese; English subtitles. 112 min. 
 
Wednesday, June 29
 
7:30 Flowers of Shanghai. 1998. Taiwan. Directed by Hou Hsiao-Hsien. With Tony Leung Chiu Wai, Hada Michiko, Carina Lau Ka Ling, Jack Kao, Michelle Reis. 35mm. In Shanghainese; English subtitles. 
 
Thursday, June 30
 
7:30 Springtime in a Small Town. 2002. China. Directed by Tian Zhuangzhuang. With Wu Jun, Hu Jingfan, Xin Baiqing. 35mm. In Mandarin; English subtitltes. 116 min. 
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