This city symphony series evokes periods of Shanghai’s history, as depicted in archival newsreels, home movies, documentaries, and fiction films made by Chinese and foreign filmmakers. Chinese film expert Paul Fonoroff joins us to introduce three of the films.
Read full descriptionJia Zhangke explores the contested city of Shanghai, as witnessed by citizens, politicians, criminals, exiles, artists, and especially filmmakers. Both a historian’s and a cinephile’s dream, I Wish I Knew is as much about Shanghai in cinema as it is about Shanghai. Preceded by Nankin Road, Shanghai (1901).
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In this atmospheric noir thriller, which doubles as a city symphony to Shanghai’s eternal mysteries, a videographer searches for work, and for a lost love. This is a landmark of Sixth Generation Chinese filmmaking. Preceded by Boat to Shanghai, a home movie from the early 1930s.
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Fascinating and rich with wry humor, Exile Shanghai is an extraordinary cultural odyssey that affectionately conjures up the lost Jewish world of 1930s Shanghai.
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Tony Leung Chiu-wai stars in Hou Hsiao-hsien’s period-piece reverie set in a Shanghai brothel circa 1890. “‘Surrender’ is the key to this visually ravishing masterpiece” (Phillip Lopate).
No. 89 Shimen Road vividly recalls not only an era of Shanghai and the nation’s history, but also a crisis in values affecting its youth that resonates with the present. Preceded by a Hearst Metrotone Newsreel from 1935.
A sad-eyed cabaret singer finds herself swept up with a Russian refugee spy ring in Shanghai just before the Sino-Japanese War in G. W. Pabst’s reverse Casablanca, with exteriors shot in Saigon. A “minor masterpiece” (J. Hoberman). Preceded by three Hearst Metrotone Newsreels from the 1930s.
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A Shanghai apartment building serves as a microcosm of China’s class struggles in Zheng Junli’s striking urban drama, filmed during the last days of China’s Nationalist rule and already looking forward to “a New Society.” Preceded by three Hearst Metrotone Newsreels from the 1940s.
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Tsui Hark’s retro semi-musical look at the nightclub milieu is set against the backdrop of the Second Sino-Japanese War. “It’s impossible not to be carried along by the delirious rush of silliness in this knockabout screwball comedy” (Peter Bradshaw, The Guardian). Preceded by a Hearst Metrotone Newsreel from 1936.
Ang Lee’s subtle World War II thriller is arguably modern cinema’s most gripping re-creation of old Shanghai, highlighted by the uninhibited debut performance of Tang Wei as an assassin aiming for imperious official Tony Leung Chiu-wai.