Zhang Yimou has one of the more fascinating careers of any director. He became a pioneer figure of contemporary Chinese arthouse cinema in the late 1980s / early 1990s, winning top prizes at European film festivals with gritty, hard-hitting dramas that defied ideological guidelines of the time. To Live, winner of the Grand Prix at Cannes in 1994 and widely considered his crowning directorial achievement, was such a blistering indictment of the Chinese regime it never received a theatrical release at home.
Around the turn of the millennium he started making a very different type of movie––lavish, CGI-laden blockbusters like Hero, House of Flying Daggers, and Curse of the Golden Flower. These often impersonal, politically correct (or muted) spectacles proved so popular he began attracting Hollywood attention, leading him down a misguided path towards the zillion-dollar abomination that is The Great Wall. His conceptually intriguing, if still visually exhausting follow-up Shadow...
Around the turn of the millennium he started making a very different type of movie––lavish, CGI-laden blockbusters like Hero, House of Flying Daggers, and Curse of the Golden Flower. These often impersonal, politically correct (or muted) spectacles proved so popular he began attracting Hollywood attention, leading him down a misguided path towards the zillion-dollar abomination that is The Great Wall. His conceptually intriguing, if still visually exhausting follow-up Shadow...
- 10/11/2021
- by Zhuo-Ning Su
- The Film Stage
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