East Palace, West Palace

For anyone who views understatement in cinema as dull, this is not the film to see. Every line, every angle, every event are introduced almost as if the viewer were in the same room with the actors, or at least on the edges looking in closely. Even its more melodramatic moments seem controlled, almost introspective.

The classical unities of stage drama hold sway here. Like the latter scenes in the film "Bent," there is a sexual tension that merges with a political theme. Ultimately that demonstrates freedom exercised in the face of tyranny. While I think it would be too limiting to emphasize either one or the other of these two elements, as some of the few comments here have stated or implied, any perceptive viewer is likely to come away with a feeling of frustration. And that is as it should be. It is a hallmark of any good story, cinematic or otherwise, to engage the imagination of a viewer or reader so as to elicit more questions than answers.

This is a movie that could just as well be a play acted in a small theater, a short story from the pages of a literary magazine, or a reality show played out before a psychology class. A small gem.

'East Palace, West Palace' is a film that's immeasurably diminished, indeed misunderstood, if it's labeled a gay film.

Certainly, 'East Palace, West Palace' explores issues related to the gay experience. But that's the first, and indeed facile, layer. There are more.

In its context, it poses a society in transition. It explores the constructs of power, of state machinery, and how institutions and ideas past their prime can dehumanize both parties, victims as well as perpetrators.

The film has moments of lyrical and almost escapist beauty, leaving no room for the claustrophobia that the plot construct could easily have engendered. Visually and verbally, poetry in a police station makes for near-surreal surprises.

As it builds, the film undergoes sudden shifts, rising much above comment on the politics of desire. Instead, it begins to underline the politics of politics itself. The rights being debated in that one night in the police station have much more to do with the right to freedom, the right to self-expression, the right to identity, than to do with the right to cruise in parks.

In a lot of issue-based cinema, marginalization affects both parties equally. Both the person wielding the stick and the person encountering the stick get trapped in their predefined roles. Not so in 'East Palace, West Palace'. In the dialectic between the two protagonists, there can be no clear lines drawn between the powerful and the overpowered, the loving and the loved.

Intensely abstract, and, simultaneously, intensely personal. That's how 'East Palace, West Palace' succeeds for me.

As a gay man who'd expected to see yet another gay film, I should've checked my labels in at the door.

This film uses very simple means to tell its powerful story. I am very found of films which do exactly this, that composes a story with emotions in a condensed way that does not preach to you, that does not tell you in bad taste how to feel, but that still moves you, not only in the theater, but also later on.

I am sure that this film can evoke mixed emotions. Because as a viewer we may want one of the characters to be the victim, we may want him to be the one at the bottom which should fight, take the battle and overcome his oppressor. But that is not how the story is told. For those of you who know Genet and have read Genet's stories, you will know the ambiguity that can be given to the oppressor/victim relation. And how full of meaning and emotions a single object or moment can be.

So if you have read Genet and liked it, you will like this film. But be warned, if you are expecting a story which delivers a story about poor gay men in less fortunate countries, you will be challenged, not to think the other way around, however, rather to view the world in more than one dimension.

In Beijing, gays have hidden sexual encounters in a park during the night and are severely repressed by the police. The writer A Lan (Si Han) is arrested by the policeman Xiao Shi (Jun Hu) and along the whole night, he is interrogated, disclosing his hard life-story since he was a child and his crush on Xiao Shi.

"Dong Gong Xi Gong" could be called confessions of an infatuated gay writer in Beijing. This film is bald and in accordance with the information on the cover of the VHS, "it is the first Chinese movie assumed gay, success in whole world… forbidden in China". The theatrical story is well acted by Si Han and Jun Hu. In accordance with the opinion of some IMDb reviewers, this film would be a metaphor of the repressive situation in China, but is it? I do not agree with this intellectualized interpretation, and in my opinion, it is a simple and well acted gay romance, better and better than the famous "Broke Back Mountain". My vote is six.

Title (Brazil): "O Outro Lado da Cidade Proibida" ("The Other Side of the Forbidden City")

I understand this film was banned in China because it deals with homosexuality. I prefer to think that it was banned because it could bore its audiences to death. Basically the story of a frustrated and screwed-up little Chinese queen who falls for a policeman who arrests him for cruising the park, this attempt at a movie is badly directed, incredible badly edited, static to the point of being a series of still pictures at times, with actors who maintain a single expression and have little to make one feel sympathy for them. Good grief... I sat through it though my hand itched to fast-forward to the end of this dreary exercise in movie-making. Skip this one...