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Documentary / ratings=7,1 of 10 / release date=2018 / rating=34 Vote / Reviews=Factory and construction workers, farmers, commuters, miners, students. The director captures the state of his nation, by static filming one or more people in more or less motionless poses. No narrative, just portraits.

Retrato chinese watch full hd. Retrato Chinês Watch full article. Summary: From acclaimed director Wang Xiaoshuai (Beijing Bicycle; So Long, My Son) comes a personal snapshot of contemporary China in all its diversity. Shot over the course of ten years on both film and video, the film consists of a series of carefully composed tableaus of people and environments. Pedestrians shuffle across a bustling Beijing From acclaimed director Wang Xiaoshuai (Beijing Bicycle; So Long, My Son) comes a personal snapshot of contemporary China in all its diversity. Pedestrians shuffle across a bustling Beijing street, steelworkers linger outside a deserted factory, tourists laugh and scamper across a crowded beach, worshippers kneel to pray in a remote village. With a painterly eye for composition, Wang captures China as he sees it, calling to a temporary halt a land in a constant state of change. [Cinema Guild] … Expand Genre(s) Documentary Rating: Not Rated Runtime: 79 min.

Retrato chinese watch full episodes. Chronicling the state of the nation one carefully arranged image at a time, the first feature-length documentary from Wang Xiaoshuai ( Red Amnesia, MIFF 2015; 11 Flowers, MIFF 2012) provides an illuminating window into Chinas recent history. Shooting over 10 years and inspired by the work of painter Liu Xiaodong, Wang traverses the country to capture factory employees, farmers, fishermen, construction workers, train passengers, beachside tourists, students and more, all in motionless poses. But, in a fitting parallel of contemporary Chinese life, nothing truly remains static in these intricate tableaux. Living up to its name, Chinese Portrait is a work of astonishing depth and breadth – continuing Wangs impassioned examination of a place struggling to move on from its past, and casting its eyes over the spaces that typify modern-day China: building-filled cities, untouched landscapes, crumbling industrial sites and a constant sea of development. “A subjective and utterly revealing snapshot of the state of Wangs country. ” – The Hollywood Reporter Please note that spoken and background dialogue in this film remain unsubtitled as per the director's intentions.

Retrato chin c3 aas watch full review. Retrato chinese watch full free. Filmcollectie_01 Film docsforsale_01 Docs for Sale Artboard Copy 2 Created with Sketch. Share Passengers on a train, tourists at the beach, factory workers, farmers, construction workers and students: in a series of portraits, the famous Chinese independent film director Wang Xiaoshuai ( Frozen, Beijing Bicycle, 11 Flowers) captures the state of his nation. Each portrait is a carefully composed long shot, using a static camera that captures one or more people in motionless poses. But there's always movement somewhere in the frame: not all the subjects remain still, and animals, passersby and children don't obey the protocol. The resulting scenes are fascinating, moving photographs in which there's always something more to discover. The director shows us a modern China that's a rich mix of new buildings and old courtyards, derelict industrial sites, countryside and big cities. What's most striking here is the seemingly endless amount of construction projects. This film is a motionless, non-narrative snapshot that calls a temporary halt to all this inexorable change. Credits Production Isabelle Glachant / Chinese Shadows, Xuan Liu / Front Films Co. Ltd. Executive producer QIAN Yini Cinematography WU Di, ZENG Hui, ZENG Jian, PIAO Xinghai Editing Valérie Loiseleux Show all credits IDFA history 2018 European Premiere Masters.

Chinese Portrait a film by Wang Xiaoshuai 2019, 79 minutes Poster Synopsis From acclaimed director Wang Xiaoshuai ( Beijing Bicycle; So Long, My Son) comes a personal snapshot of contemporary China in all its diversity. Shot over the course of ten years on both film and video, the film consists of a series of carefully composed tableaus of people and environments, each one more extraordinary than the last. Pedestrians shuffle across a bustling Beijing street, steelworkers linger outside a deserted factory, tourists laugh and scamper across a crowded beach, worshippers kneel to pray in a remote village. With a painterly eye for composition, Wang captures China as he sees it, calling to a temporary halt a land in a constant state of change. Reviews "A stunning trip through modern China, a vast country with a diverse population and landscapes. " Alissa Wilkinson, VOX "A spellbinding snapshot of a time and place, both of which are rapidly disappearing. " Patrick Gamble, Kinoscope "More than just chronicling a country in transformation, Chinese Portrait signals seismic shifts in cinema as well. " Clarence Tsui, The Hollywood Reporter Press Materials High-Res Stills and Poster Press Kit Press Release Where to watch Opens Dec 13 Playdates Festivals & Awards Official Selection – Doc Fortnight, MoMA, 2019 Official Selection – True/False Film Festival 2019 Official Selection – Busan International Film Festival, 2018 Official Selection – International Documentary Festival Amsterdam, 2018 Official Selection – Hong Kong Asian Film Festival, 2018 Trailer.

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Imagine being in a gallery featuring photographs of regular, working class people. Some gaze intently at the camera as others appear unaware of being watched. Suddenly, an image moves. A gust of wind tousles someones hair or clothing, someone blinks or suppresses a smile, and you are outed as a voyeur. That is exactly the experience of watching celebrated filmmaker Wang Xiaoshuais documentary “Chinese Portrait, ” a series of fixed-camera tableaux shot on film and video over eight years throughout his homeland. We tend to regard Chinas population of 1. 4 billion as either an economic behemoth whose cheap means of production fuels the voracious consuming habits of westerners or an existential threat wielding future-tech authoritarianism. The people, even in their multitudes, are often an afterthought. Wang ( “Beijing Bicycle”) however, foregrounds his subjects, composing in master shots and placing them against backdrops that are sometimes soothing but often bleak. As his camera peers out of the opening of a mine, takes in endless farmland, the gritty exterior of a factory or the interior of a train, we are greeted by groups of workers, families and travelers. There is no narrative or context provided, but the long takes and static camera allow us to choose where to look and, slowly, individuals emerge, defined by stoicism, a tiny gesture or a furtive glance at someone else in the frame. Little happens, but as the camera lingers for minutes at a time, the people become fascinating. Theres also something unsettling about that two-way mirror effect. Like locking eyes with a stranger for a little too long, something passes between viewer and subject. You remind yourself that in this case it is a cinematic illusion, but no less profound. Filmmaker Wang Xiaoshuai in his documentary “Chinese Portrait. ” (Cinema Guild) What little dialogue there is goes unsubtitled, which strangely makes the people on screen even more interesting. Wang makes great use of near-silence, relying on natural sound to accompany his images; no score, just the sounds of machinery, radios, loudspeakers, a singer and the wind to do the aural work in various settings. Wang himself appears from time to time as a Waldo-like presence, if only to remind us that he actually visited these places and that there was someone who decided when to start and stop the camera. Reflected in its native language title (“My Lens”) “Chinese Portrait” is a personal reflection on the countrys past and present. Brimming with humanity, Wangs contemplative, minimalist approach forces us to consider the day-to-day lives of these people, and perhaps our own. ‘Chinese Portrait Not rated Running time: 1 hour, 19 minutes Playing: Starts Dec. 20, Lumiere Music Hall, Beverly Hills.

Retrato Chinês watch full episodes. Retrato chinese watch full album. Retrato Chinês Watch full review. Images from Chinese Portrait ( Wang Xiaoshuai, 2018) A brief sequence in Wang Xiaoshuais new documentary depicts the scene at a Chinese coastal resort. In one shot, a man stands gazing out at the sea while children splash around happily and families lounge on the sand in the background; in another, a middle-aged man wearing swimming trunks and a medallion looks to camera quizzically, with the thoroughly rakish look of an ageing holiday Lothario. These may not be not exceptional images in themselves, but they made me realize that this was something I had never seen in a Chinese film before, documentary or fiction: something as ordinary as people enjoying leisure time themselves on the beach. Its not that Chinese cinema has necessarily been avoiding this aspect of life as too mundane or undramatic, just surely that contemporary life in China is so vast and multifarious that the national cinema may not be able to trawl in all its facets. Nevertheless, this 2018 documentary by “Sixth Generation” director Wang makes a good attempt at doing that. The first great film of this year, arguably, was Wang Xiaoshuais three-hour  So Long, My  Son, which followed a family through three decades of modern Chinese history; although it is only 80 minutes long, his  Chinese Portrait  is equally expansive, although in a telegraphic, fragmented manner. In its English title, the film presents itself as an overall portrait of a nation, but each single image is itself a portrait—of people, locations, lifestyles, traditions. We see Chinese work, leisure, religion (Buddhist and Muslim) we see industry, transport, agriculture, landscape tamed and in revolt. There are just over 60 main shots in Wangs film—give or take a handful that figure as all but subliminal—nearly all of them locked off, many of them highly composed, even artificial. Shot over 10 years on both film and digital, sometimes emphasizing the portrait aspect by the use of Academy ratio frames with rounded corners—sometimes separated by lengths of leader in various colors—the film offers a range of snapshots of contemporary China. Its hard to resist the allusion to still photography. Wang often poses his subjects in stationary groups, while a single element in the picture—a chain, a flapping bit of fabric, or an unruly child—moves to remind us that were not looking at stills. These images resemble a set of pictures in a modern photography gallery: most of them have a stillness and composure that makes you want to hold at length on each one before walking on to the next. In some of the larger landscape shots with human figures, you might think of the huge staged compositions of Jeff Wall: a grey vista of tower blocks, with the tiny figure of a street cleaner in day-glo orange wandering in the foreground. The more spectacular images of workplaces—offices, factories, a classroom—have a touch of Andreas Gursky. The images are presented without commentary, explanatory captions, or even subtitles in those sequences that contain dialogue; theres barely any music. This is a country laid out before us, but not with appeal to the touristic eye; the non-Chinese viewer is often left to guess at the exact nature of context and content alike, although nearly all the images are fairly transparent and immediate in their effect. Does it help to know, however, that one shot of the director himself shows him at Tiananmen Square? Another image shows a red-robed Buddhist monk with his back to the camera, facing a range of mountains; flags blow in the breeze, wind is heard in the background. Is this in some way a comment on Chinas relationship to Tibet? One suspects it might be, but the film tells us nothing. This is very much, although not entirely, a film about people. Photographed variously by Wu Di, Zeng Jian, Zeng Hu, and Piao Xinghai, many of the shots are posed group portraits, often absolutely still, although not everyone will freeze for the camera. In a photo of a shepherding couple and their flock, the humans stand still while a lamb wriggles in the womens arms; at a family backyard meal, a little girl wanders around while, conversely, the elderly woman farthest from us gazes intently at the camera. Wang often has a single person looking straight at us out of an otherwise natural shot in which people arent apparently aware of the camera at all. In an open-plan office, business appears to go on, as on a normal working day, but one man near the foreground stares at us; similarly, in a university classroom scene full of students writing away, a young woman meets our gaze, immobile, pen to her lips—the seeming naturalness of the scene undermined by the fact that no-one turns a hair when the recess bell rings. Sometimes Wang Xiaoshuai highlights the self-reflexive aspect to his portraiture, or just its painterliness. Some images show the director himself, a stocky, middle-aged man gazing with a somewhat comic glumness at the camera: in Tiananmen Square, or on the back platform of a moving train (he then cuts away to passengers looking back at the camera, or back at him, although most appear to lose interest after a few moments. In another, the films one overt joke, he stands in the yard of a seemingly disused factory, before a line of workers file right past him, ignoring him totally (his nod to the Lumières and the birth of cinema. We see a group of young women posing in a desolate landscape, while in the foreground, a mainly blank canvas shows the sketched outline of one of them. After a while, the painter appears in shot—Liu Xiadong, whose work was apparently one of the inspirations for this film (a Google search reveals that this image shows him working on a 2010 group portrait called Out of Beichuan. Another image shows a young female dancer standing against a pillar, others lined up in a dark background in sequins and tulle; with its artfully achieved lighting, it seems to channel a painting by Degas or Lautrec. Edited by Valérie Loiseleux—a long-term collaborator of Manoel de Oliveira and Eugène Green—this leisurely film sometimes frames images in isolation, sometimes juxtaposes them for analogy or contrast, very occasionally uses sound to stitch together suites of seemingly unconnected images. One sequence shows a plane etching a white line across a blue sky, then a factory belching smoke, ice drifting on a river, sheep in a green field gradually sweeping across the entire screen; what connects them is a little symphony of unexplained, seemingly unconnected sounds (beginning with footsteps, odd scratchings) threaded throughout. In images like this, or in a single extended shot of long grass waving in the wind,  Chinese Portrait  echoes Abbas Kiarostamis  Five; elsewhere its group portraits echo Agnès Varda and JRs  Faces Places. There is very little event in  Chinese Portrait, although one incident is quite genuinely explosive: an excavator with a drill attachment chips away insistently at the corner pillar of a huge concrete industrial building, until it suddenly crashed down with an almighty boom, dust filling the screen. This is one of many images of destruction and reconstruction in the film, some by all accounts relating to the devastating earthquake of the Sichuan province in 2008—such as the apartment block caved in down the middle, like a collapsed cake. By contrast, there are various buildings under construction, some of them glumly functional, as opposed to the glossy display maquette of a city project space with glowing skyscrapers. In its fragmented, montaged way,  Chinese Portrait  tells as forceful a picture of social change as Wangs  So Long, My Son, which spans several decades and ends with its lead characters returning to the city they once knew, some of the buildings they knew still intact in a city transformed almost beyond recognition. One of the films juxtapositions might sound too overt and pointless when described, yet it makes for an eloquent ending. In the penultimate shot, shot from a low angle, a group of rural workers recede into the distance (the film makes consistently strong use of forced perspective) on a plain of parched, cracked earth. At the forefront is a small child clasping a metal bucket, and a women holding out an empty metal bowl. They seem to be pleading to the camera for food in times of need, and the image would almost be crushingly overstated if not for one element; among this static poised group, the child is fidgeting and looking nervously around, bringing an almost comic touch of disruptive chance to this otherwise contrived-seeming tableau. In contrast, the following (and final) shot is one of plenty: its an open-air restaurant in a city, a vision of movement and life, with a musician seen singing and playing guitar, and some sort of agitated debate going on in the background. Everything is vivid and spontaneous. Scan the image long enough, though, and youll notice one of Wangs poised, still gazers almost hidden on the left side of the screen: a young man looking out at us, absolutely still, a figure of photographic fixity in the middle of cinematic movement and, by way of a sign-off, challenging us to piece together the films sprawling imagistic jigsaw for ourselves. Jonathan Romney  is a contributing editor to  Film Comment  and writes the  Film of the Week  column. He is a member of the London Film Critics Circle.

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Chinese Portrait Watch For Free Streaming Online HD no login Chinese Portrait Download Full Part 1 Watch Free Chinese Portrait kickass Watch Full Length Chinese Portrait 123movies Chinese Portrait Full Movie no login Solar Movies ↓↓↓↓↓↓↓↓ DOWNLOAD@STREAM Alternative Link ⬆⬆⬆⬆⬆⬆⬆⬆ Synopsis - Factory and construction workers, farmers, commuters, miners, students. The director captures the state of his nation, by static filming one or more people in more or less motionless poses. No narrative, just portraits Release date - 2018 directed by - Xiaoshuai Wang Genre - Documentary You must be logged in to watch films on Festival Scope - this film may not be available for all users. A film portraying Chinese people and spaces during a period of upheaval. Mods are furries. Did You Know Dr. Brant Is My Cousin? I Wish I Could Have Met Him, But I Only Found Out About Him In 2018, And He Was Dead By Then. But I Can't Say I'm Suprised, Mental Illness Runs In Our Family. I Don't Know If He Cut Off From My Family Or Not. Maybe He Had Better Things To Do Outside Of New Jersey. I Don't Expect You Guys To Believe That He Is My Cousin, When I Told People In My School And They Did Not Believe Me, So I Assume You Guys Would Not Either. I Just Wanted To Vent. This cinematography looks incredible. /story/watch-free-retrato-chins-1280p-at-dailymotion-tamil-countries-china.

Retrato chin c3 aas watch full apk. Retrato Chinês Watch full article on top. Scout Tafoya December 13, 2019 Wang Xiaoshuai s latest movie works so splendidly on its own self-contained and easily divined terms you could watch it without knowing anything about the Shanghai-born director and still walk out stunned. Of course, the payoff of this work is all the richer if you know the course the director took from studio misfit beleaguered by distribution and self-esteem problems to well-liked and promising director of "Beijing Bicycle"—the kind of neo-Neo-realism international film festivals still love—to wave-riding miserablist director of scoring studies of casualties of Chinas cultural revolution. He leaned more heavily on a depressive longing and woozy inevitability than did, say Jia Zhangke, to name one of the better known directors from the period known as Chinas Sixth Generation. Life haunts the characters in his movies, who only realize what theyve had to live with when looking back at who they were. His characters watch from the outside as tides wash over their existences, precious things are stolen, glories forgotten, potentials smothered. His two latest seem to share nothing but Wangs sharp eye and melancholy form, but theyre instructive about the kind of cinema with which hes wrestled all his life. Advertisement Wangs latest is the gargantuan Golden Bear-winning family drama "So Long, My Son, which follows two families for 30 years, charting the aftermath of the cultural revolution and the period in which Wang began making his own art. "Chinese Portrait" is like the minimalist B-side to that monumental work and its disarmingly simple in its methodology, one suspects because to film people simply, one must have been quite the reprieve for the dogged social realist. To spill the blood and mine the tears of forgotten men in a country grey with industry, where no life matters beyond the labor it can provide, is a burden even as it gives an artist the world. "Chinese Portrait" spends time with the real people his movies were based on in the places theyre rarely seen. He pulls out the incident and characters that color his cinema and places them back in the context from which he plucked them, deconstructing his world like he were spreading the parts of a car on a garage floor. "Chinese Portrait" is comprised of about 60 non-fiction vignettes. In many of them there are groups of people who remain stationary and some who look directly to camera, letting the audience know that the scene isnt exactly purely objective. In other words Wang had to pose them, at least to an extent. The business that goes on around the lone "subjects" still feels spontaneous, like he had an agreement with just a couple of people and assured the rest of the people in frame that they could ignore the camera. Some of them do feel like traditional portraits brought to life, like the group of children standing with their minder in front of a remote village, neither moving nor smiling, as if waiting for a single picture to be taken. Theyre all rewarding, in compositional terms, as the errant components flutter past the steadiness of his fixed figures and the somber backdrops. Critic Michael Sicinski has already pointed out Wangs debt to documentarians James Benning, Peter Hutton and Nikolaus Geyrhalter, building on his pronounced affection for Andrei Tarkovsky to an anxious study of momentum and stasis as the essential tension of the people hes filming. The new reference points help him suggest in blocking and framing what it costs us to stop being productive. In essence its the refusal of the action around the people staring at the camera that is the one constant. Everything else changes, from the cameras he uses to the year (it was shot over a decade. Even the most desolate of villages and workplaces display progress, whether in the form of men tending great yawning furnaces in factories or men dotting the corners of the frame like ants going about their business. One of the few compositions with no active participants shows people walking in the bottom third of the screen on a muddy path. Behind them in the middle third are old cars, a crumbling series of houses, and an excavator digging up the earth to make room for new developments, represented by the stark and unappealing apartment complexes in the top third. The film can, in just a few seconds, tell you everything you need to know about the China Wang sees; a mud-slicked construction site where promise is perpetual and no one ever just gets to live. This documentary is in many ways a self-portrait as well as a look outward. Wang himself appears on camera a few times, including on a train looking at the camera, a cigarette in his hand, his homeland flying by out the open window behind him. His movies have always been about the way progress and constant "revolution" makes his characters feel small and out of place. Here he shows himself in their stead, trying to pay tribute to the place and the people who, like him, are dwarfed by the towering currents and endless drive. Even when he sets foot outside the populous towns and cities and finds horses in a field, theyre biting each others fur in a funny embrace, scratching an itch they cant get to. The few minutes Wang captured are of people ignoring the motion all around them seem radical in the face of the dehumanizing effect of progress, the bane of his cinemas existence. Staring at a camera, confronting us in the audience, asking us wonder what if anything is normal about life in a modern civilization constantly dredging up and rebuilding itself. Where does the self fit into the endless momentum? Wang asks us to construct the inner lives of the students staring at us while their classmates do their work, the men stitching fishing nets on the dock, the man in the hardhat with his back to the construction vehicle making more buildings to accommodate more people. As Wangs China grows past predictions about its growth and government, as each corner of the country becomes impossible to film without the drapery of moving bodies and their shadows, what becomes of everyones identity? My personal favorite of all of the many compositions here is the first, in which nine men in drab uniforms and miners helmets lean and crouch around a length of track bisecting the frame. Some of their faces are hard to make out thanks to the shadow of the mine itself or because theyre a little too far from the camera, but the way they stand is telling about their outlooks, the way theyre used to their jobs. Suddenly a length of cable starts moving and it becomes clear theyre watching as something is being pulled up from the mine out into the light. Theres no little suspense generated by the anticipation. Whats coming up from inside the earth? Probably nothing exciting, but the speed increases and these men just stand there watching. Just when it feels like the payload has to enter the frame, theres a few small light leaks in the film and then it cuts. The reward for their efforts is unknowable to us, and suddenly their nonchalant stances seem political. Their rewards for their efforts are unknown to them, too, as this work will manifest nothing else but more work. "Chinese Portrait" is a stunning work of photography and a simple work of empathy that asks, How much goes into making sure we all get to just live. The world, our lives, will get away from us, this is almost certain. Stopping and simply staring at your surroundings, dreaming the interior lives of the people we pass, imagining the hard labor that went into sculpting every place we stand, it may seem like a small thing. But today its one of the only things that seems truly revolutionary. Reveal Comments comments powered by.

China, 2018 Documentary 79 Synopsis A film portraying Chinese people and spaces during a period of upheaval. While traveling all over China, the movie takes a moment to notice a space. It captures a variety of people, and calmly reflects the characters and spaces behind the scene when the development was successful. This film is not currently playing on MUBI but 30 other great films are. See whats now showing Show all (2) What are people saying? Renton47's rating of the film Chinese Portrait The effect of having one or two people pose for the portrait while having life continue around them makes for an unnerving feeling of infiltrating a private moment. The few of these structural pieces that I get to see each year from around the world are always welcome, here inviting us to consider the human endeavours that fuel tradition, labour and industry. Lynch/Fellini's rating of the film Chinese Portrait In merging photography and cinema, Wang Xiaoshuai creates a haunting portrait of the conditions of modern China, and reminds us there are people forced to inhabit these areas.