News

Li Hsing, a pioneering figure in Taiwanese cinema, left an indelible mark on the industry, earning him the revered title of “Godfather of Taiwanese Cinema”. He worked tirelessly to promote Taiwanese cinema until his death in 2021. His debut feature film, “Brother Liu and Brother Wang on the Roads in Taiwan”, released in 1959, became a comedic blockbuster whose evocative power and box-office success make it an indispensable testament to the cinema of its time. In the late 1950s, the lifting of the state monopoly on film production encouraged private production companies to explore new opportunities in the burgeoning market. This era witnessed the birth of Taiwanese-language cinema (the first production was released in 1954), mostly based on local gezaixi operas. In this context, Li Hsing's movie innovated by basing his story on an original screenplay and introducing audiences to the iconic comedic duo of Wang and Liu, a local version of Laurel and Hardy.

While his features are praised for their inventive and stylish fight sequences, costumes and other aspects, one of King Hu's trademarks was the influence of Buddhist philosophy in his works. Destiny is perhaps the most significant motif linking all of his works, with many of his characters fulfilling their fate in the form of a prophecy or their principles, which is the fight against corruption within the world. King Hu has created tales that might be staged in the distant past, albeit one spiced with fantasy elements, but in the end they also reflect the present with its reliance on narratives to make sense of events and actions. In one of his last projects “The Wheel of Life”, which he co-directed with Hsing lee and Pai Ching-jui, we are told three tales from different periods in time, showcasing the influence of fate on people and the world around them,...

Above: Pedro Costa's Horse Money

The Locarno Film Festival has announced their lineup for the 67th edition, taking place this August between the 6th and 16th. It speaks for itself, but, um, wow...

"Every film festival, be it small or large, claims to offer, if not an account of the state of things, then an updated map of the art form and the world it seeks to represent. This cartography should show both the major routes and the byways, along with essential places to visit and those that are more unusual. The Festival del film Locarno is no exception to the rule, and I think that looking through the program you will be able to distinguish the route map for this edition." — Carlo Chatrian, Artistic Director

Above: Matías Piñeiro's The Princess of France

Concorso Internazionale (Official Competition)

A Blast (Syllas Tzoumerkas, Greece/Germany/Netherlands)

Alive (Jungbum Park, South Korea)

Horse Money (Pedro Costa,...