In this post I would like to deal with cinema, most precisely with “Asian cinema” as we often say in France, even if the expression covers multiple different countries.
France is truly a land of cinema: Paris has lots of theaters, and if you seek carefully, you can find every kind of film. For instance, currently, there are the latest blockbusters like Kung Fu Panda 2, but also French comedies, and in some theaters “A separation” (Jodaeiye Nader az Simin, 2011) the Iranian film which won multiple prizes at Berlin international film festival 2011, or the Korean thriller "I saw the devil" (Akmareul boatda, 2010). Moreover, a lot of films are available on DVD and now on Blu Ray.
About me, I like American cinema a lot, classic or recent. In my opinion, French cinema was better in the past, French films today prefer too often focusing the attention on the character and forget the plot, the rhythm. However, some French films can worth to be seen: for instance “A prophet” (2009), directed by Jacques Audiard, a thrilling prison film which shows the ascension of a French Arab inmate, with feelings like intelligence, violence, peace and poesy.
Anyway, I would like here to talk about Asian cinema a little bit. I think I’ve become very curious about films coming from Japan, Korea, China or Hong Kong since the release of Quentin Tarantino’s Kill Bill which includes numerous allusions to Asian films. There is a strong appeal of exoticism for many viewers, that is to say these films provide a culture, a vision, a kind of cinema different from what we can see in Hollywood.
In addition, as an Asian person growing in a western country, all these films are a way to open my mind to a continent that I’ve always wanted to know. Through these films, I have some clues, they reflect the life or throw out questions and I think I can right now understand something of these countries geographically far from France. In other words, there are the curiosity and the pleasure of watching a good movie different.
I begin with Hong Kong: I’m a huge fan of Wong Kar-Wai, I’ve seen all his films which are in my opinion absolutely unique in the world. He is notably the director of the masterpiece "In the mood for love" (Fa yeung nin wa, 2000). In this film, he employs some delightful tracks of Nat King Cole; he uses beautiful camera movements, in order to capture the mood, the melancholia, this unspoken love between two people in 1960’s Hong Kong.
But Hong Kong was mainly known for entertaining genre films such as Polar, Wu Xia Pian (films with swords and costumes) or Kung Fu. Some specialists consider that the golden age period goes from the beginning of the 80’s to the retrocession in 1997: the films directed by Tsui Hark, John Woo, or Jackie Chan. I like all of these films. Hong Kong today is not really what it used to be in the past, that is to say a firm of entertaining films which dared everything and experimented with often little money.
Hong Kong, which was before 1997 a colony of England, produced some films with a nostalgia sense, looking for the past glorious history of China. Aimed at Hong Kong viewers and Chinese emigrants of the entire world, the films responded often to feelings of exile, questioning the culture, especially in the films from Tsui Hark.
Nowadays, Hong Kong films are more attracted by mainland China, and don’t experiment anymore.
About mainland china, I principally know Chen Kaige and Zhang Yimou, whom Gong Li was his muse. These directors had to deal with the censorship, and must take care when they bring a social message. For example in “Raise the red lanterns” (Da hong deng long gao gao gua, 1991), a very beautiful and colorful film, artistically speaking, but with a sad background, Zhang Yimou denounces the patriarchal power.
I like also most recent films from Zhang Yumou, like "House of flying daggers" (Shi mian mai fu, 2004), which is exotic, colorful, peaceful too, with a love story between Zhang Zi-Yi and Takeshi Kaneshiro, a huge star in China but also in Japan.

From Korea, I just know recent ones. But for those I know, what awesome films: there is often an exceptional mastery to provide a sense of suspense. The first Korean film I saw was "JSA" (Gongdong gyeongbi guyeok, 2000). This film is a thriller, set in the borderlines between north and south. Full of suspense, but also with an universal message between the people. I remember a touching scene where we hear a Korean song when the soldiers shoot each others. Park Chan-Wook, the filmmaker, will after be celebrated for his trilogy of violence (notably "Old Boy"). I'm always astonished by the freedom that some directors have on the content of their films because the violence we can find here is impossible to find elsewhere. I red that the violence is a type of metaphor regarding the history of the society: the military dictatorship in place many years ago.
Among films I like, it must be mentioned films like "Brotherhood"(Taekgukgi hwinalrimyeo, 2004), "the Good the Bad and the Weird" (2008), or Bong Joon-Ho's films, probably the most popular Korean filmmaker with Park Chan-Wook in western countries.
"Memories of murder" (Salinui Chueok, 2003) is one of my favorite. Set under the dictatorship in a country, based on a true case of serial murder, it is a detective film, without answer, which is sometimes comic, sometimes absolutely disarming, touching. I think it represents the entrance of the society into the modern world.
On the contrary, I know Japanese classic films better thant recent films. I know Ozu (synonym of Zen for westerners), Kurosawa, or Naruse. One of the classic film that I like the most is "Floating clouds" (Ukiguo, 1955) set after the World War II. It is a pure jewel of melodrama, very interesting and fascinating, where the man at this time is depicted with cowardice, while the woman tries to survive.
The cinema of Kurosawa has always been renowned in France, he is probably with Miyazaki the most famous Japanese director in France. For instance, his film Ran (1985), based on Shakespeare's King Lear, was produced with a french company.
The first recent film that really amazed me was "Battle Royal" (2001). The plot proposes a death match between classmates, with derision, violence and tragedy, where each death is different from the precedent. We can consider it as both an exciting thriller (the question is: how the following will be killed) or also as a tragic film where in an absurd game we discover links between the pupils (love or friendship).I remember a scene in the tower, very tough. Can we see this film as an image of how hard is the competition in Japan, which lead to a nonsense? I don't know.
Kitano, who plays in this film, is apparently more famous in Japan for his TV or radio shows as a comic, than as a filmmaker, whereas in France he is more famous for his films.
One of his film I like the most is "Kids return" (Kizzu ritân, 1996). I still remember the music composed by Joe Hisaishi. By the way, we can find in this film an inclusio (haha ;), negatively in fact.
Vietnam doesn't produce films, unfortunately. The only director I know is Anh Hung TRAN who is french in fact. His better film, "the scent of green Papaya" (1993), was directed in France. We can feel a research of the taste, the scent of Vietnam in his work.
In fact, I could talk cinema again and again. It's like a window open on the world and the time for me. Perhaps next time, on American or French cinema.
To finish, I just would like to share this music from "Porco Rosso" (Kurenai no buta, 1992), called "le temps des cerises". Even if this song is well-known in France, a classic one, I hear it for the first time with this version sung by a Japanese artist. Enjoy.
And you, what kind of cinema do you appreciate?