A song of resistance soars above the towering condominiums in Johnny Ma’s To Live to Sing. The film, Ma’s sophomore feature after Old Stone, is an evocative portrait of culture at a crossroads. To Live to Sing takes the gritty realism of Ma’s debut feature a step further. Inspired by a Sichuan opera company he […]
First images from To Live to Sing, the latest film from Old Stone director Johnny Ma
Whatever good Ask No Questions does in bringing awareness to a major event that deserves investigation becomes undone by its ridiculous speculation.
Director Lulu Wang talks to That Shelf about her film The Farewell, working with Awkwafina, living in Trump's America, and more!
Lulu Wang’s funny, thoughtful, and life-affirming feature, The Farewell, is one of 2019's best movies.
That Shelf spoke exclusively with the acclaimed filmmaker Jia Zhangke about his new film Ash is Purest White, his fascination with the gangster genre, the challenges of maintaining ones voice, and how to use Disco music.
Reel Asian, Toronto's annual celebration of pan-Asian cinema, has announced its 2018 slate.
Is there a place for a throwback blockbuster like Independence Day: Resurgence in today's increasingly global movie market? Maybe!
Mountains May Depart TIFF 2015 review.
Pseudo-historical, slightly spooky, but infinitely kung fu (with choreography by the beloved Sammo Hung) do Detective Dee’s massive CGI set pieces and explosively absurd fight scenarios create any competition for our biggest 'busters back home? Namely Sherlock Holmes? Which I’m saying because I guess that’s the easiest reference point for a spectacle detective story?
First described to me as “Indiana Jones meets Tomb Raider”, this does Daomu #1 a disservice. Yes, the plot revolves around a secret society of tomb robbers, so the comparison is understandable, but the preceding quote is more of a marketing tag for Image to hook potential readers. Opening the comic though, the text on the first page reveals an even deeper back story and world mythos than those Western franchises ever achieved. The digitally rendered art, by Ken Chou, is so distinctly 21st century and “not-American”, that this tag line will feel almost misleading after finishing the issue.
The 14th annual Toronto Reel Asian International Film Festival starts today and runs through November 15th. The festival is Canada’s premier pan-Asian film festival, showcasing the best in Asian and Asian-Canadian cinema. Reel Asian also hosts a number of industry panels, as well as events for film fans.
The 14th annual Toronto Reel Asian Film Festival is Canada's premier pan-Asian international film festival, fostering the exchange of cultural and artistic ideals between east and west. It provides a public forum for homegrown Asian media artists and their work, and fuels the growing appreciation for Asian cinema in Canada.
Director Wuershan’s feature debut, The Butcher, the Chef, and the Swordsman is pretty much the epitome of a Midnight Madness film. A combination of period film, slapstick comedy, food film, love story, martial arts film and revenge thriller, with objects, images, and a contemporary soundtrack constantly being thrown at the audience, this is a film that should not work, but somehow it does.
In a strange alternative past set during China’s Tang Dynasty, a woman is about to ascend to the Emperor’s throne. She has ordered that a great Buddha statue be built in her likeness, and it must be ready for her coronation. But on a tour for a visiting dignitary, a high-ranking official mysteriously burns from the inside out. The soon-to-be-empress, Wu Zetian, tells her most trusted warrior, the beautiful lady Shangguan Jing’er, to bring back Detective Dee, who has been jailed by Wu for daring to oppose her, to solve the mystery.