Sentences with phrase «on wuxia»

To celebrate the release of The Assassin, a stunning new take on wuxia films by renown director Hou Hsiao - Hsien, we are offering you the chance to win East Asian cinema prize bundles.

Based on the wuxia genre of films and stories, this kung fu fighting is fast and features lots of mid-air dashing and juggling of hapless combatants.

Not exact matches

Zhang Yimou's exquisite wuxia is all the genre clichés allow: sumptuously shot and sharply choreographed, full of balletic and nigh - on acrobatic action.

A finely textured and stylistically sublime essay on the Chinese wuxia genre; a mood piece re-imagined by a sympathetic female warrior.

And lo, on Day 8 Hou Hsiao - hsien descended from on high to save the day with his long - gestating wuxia period drama The Assassin, which immediately became almost everybody's favorite Competition film (mine included), even if many professed themselves as much mystified as entranced.

King Hu's 1965 Hong Kong wuxia pian («martial chivalry» genre) classic stars Cheng Pei - Pei as the avenging Golden Swallow, on a mission to save her kidnapped brother, and Yueh Hua as an amiable beggar with a chorus of scruffy orphans, who plays guardian angel to the warrior woman, his drunken front hiding his true identity.

When the bamboo curtain lifted, some Hong Kong filmmakers were allowed to shoot wuxia pian on the mainland, and somewhat muted the spectacular aspect of the fighting to allow for a true discovery of the landscapes (Ann Hui's Shu jian en chou lu [The Romance of Book and Sword, 1987]-RRB- or to express existential concerns (Wong Kar - wai's Dung che sai duk [Ashes of Time, 1994]-RRB-.

Acclaimed director Zhang Yimou's influential wuxia is period martial arts on the immense scale of an Akira Kurosawa epic.

Drawing on King Hu's 1967 wuxia classic Dragon Inn, as well as his own (uncredited) 1992 remake, plus Yojimbo, Kagemusha, and any number of other cinematic touchstones, Tsui Hark's Flying Swords of...

Partly because it marks the return of the great Taiwanese helmer Hou Hsiao - Hsien for the first time in seven years, and partly because it sees him working on a bigger scope and scale than ever before: the film's a big - budget (relatively speaking) wuxia picture.

This is definitely true in cases where the MMOs draw on quintessentially Eastern concepts, such as wuxia MMOs like Blade and Soul.

In parallel, susan pui san lok's presentation of her artistic practice brought words flashing up rapidly on the screen; a sequence that demonstrated disconnection, subversion, breakage and re-formulation, against a manipulated montage of wuxia footage.

Each sequence focuses on moments depicting a certain gravity - defying lightness or weightlessness emblematic of the genre, while the variously degraded images reflect both the changing stylistics of wuxia along with technological shifts in the medium.