LINKS :: JIA Zhang-ke

JIA Zhang-ke 賈樟柯 (born 1970, China) = 37 yold in 2008

10 films / 9 screenplays (1st film: 1995/latest film: 2008)
INSPIRED BY : Chen Kaige (Yellow Earth), Hou Hsiao-Hsien (The Boys of Fengkuei), Robert Bresson (Un condamné à mort s'est échappé), Vittorio De Sica (Ladri di biciclette), Ozu Yasujiro (Tokyo Monogatari), François Truffaut, Jean-Luc Godard, Johnny To (Election 1 & 2)
C.C.C. films (strict model in red) : I Wish I Knew; 24 City v; Sanxia haoren / Still Life v; Shijie / The World v; Ren xiao yao / Unknown Pleasures v; Gong gong chang suo / In Public DOCv; Zhantai / Platform v; Xiao Wu v
INFLUENCE ON : ?

Quick scroll : BIBLIOGRAPHY | BOOK | ONLINE ARTICLES | INTERVIEW | TEXTS | WEBSITES | DOCUMENTARY

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24 City 二十四城 Ershisi Cheng Ji (2008)

• 24 City By: Dan Fainaru (Screen Daily, May 17, 2008)
  
• 24 City By: Derek Elley (Variety, May 17, 2008)
  
• Links round up By: David Hudson (GreenCine, May 17, 2008)
  
• A modest but moving elegy on industrial metamorphosis in China By: Maggie Lee (The Hollywood Reporter, May 17, 2008)
  
• Chinese filmmaker Jia Zhang-ke takes new approach with '24 City.' By: Dennis Lim (The LA Times, May 19, 2008)
  
• MP3 Audio podcast By: AO Scott & Manohla Dargis (New York Times, May 19, 2008)
  
• Cannes Film Festival, 2008: “24 City” (Jia, China) By: Daniel Kasman (The Auteur's Notebook, May 21, 2008)
  
• One Collective Epic: Jia Zhangke's 24 City, Zhai Yongming and the three Factory Beauties By: Edwin Mak (Faster Than Instant Noodles, May 26, 2008) DELETED
  
• "Imitation of life" By: James Quandt (Artforum, 3 June 2009)
  
• Links By: David Hudson (The IFC Daily, 4 June 2009)
  
• "An Upscale Leap Forward That Leaves Many Behind" By: Manohla Dargis (NYT, 4 June 2009)
  
• "Ruinas" By: Miguel Blanco Hortas (Lumière, #2, Nov 2009) [SPANISH]
  
• (add link here)

Still Life 三峡好人 Sanxia Haoren (2006)

• Still Life review By: Leo Goldsmith (not coming to a theatre near you)
• Still Life review By: Zach Campbell (Elusive Lucidity)
• Still Life review By: acquarello (Strictly Film School)
• Still Life review By: Dave Kehr (davekehr.com)
  
• Still Life review By: Chris Bourne (The Bourne Cinema Conspiracy)
• Still Life review By: Dan Sallitt (Thanks for the Use of the Hall)
  
• Still Life review By: Daniel Kaz (d+kaz)
• "Still, Life, Looking at Jia Zhang-ke's Recent Masterpiece" By: Ian Johnston (Bright Lights Film Journal)
  
• "Chinese Wasteland: Jia Zhangke’s Still Life" By: Shelly Kraicer (Cinemascope)
• "Toronto: Jia Zhang-ke, etc." (Girish)
• "Histories, Official & Personal: Jia Zhangke's Still Life" By: Andrew Schenker (The House Next Door, Wednesday, January 30, 2008)
• Still Life review By: Tony Rayns (Sight & Sound, Sept 5, 2006)
• Still Life Venice review By: Derek Elley (Variety, Sept 8, 2006)
  
• Still Life TIFF review By: J. Robert Parks (framing device, Sept 14, 2006)
• "Jia Zhangke - Still Life" (Positif #555, May 2007) [FRENCH]
  
• "Drowning in Progress. Contemporary China, fluid yet unstable, in Still Life" By J. Hoberman (The Village Voice, January 8th, 2008)
• Still Life review By: Fernando F. Croce (Slant, Jan 11, 2008)
• "Digging for China" By: Martin Tsai (The New York Sun, Jan 11, 2008)
  
• "Missing Persons: Jia Zhangke's Still Life" By: Michael Koresky (indieWIRE, Jan 14, 2008)
• "A Still Life Less Ordinary. Chinese director Jia Zhangke on hovering between the state and subversion" By: Vadim Rizov (The Reeler, Jan 14, 2008)
  
• "Generation China, Jia Zhangke continues to document his rapidly evolving (self-destructing?) homeland" By: Anthony Kaufman (Village Voice, January 15th, 2008)
• "Those Days of Doom on the Yangtze" By: Manohla Dargis (NYT, Jan 18, 2008)
  
• "Humans recede as China expands" By: Nicolas Rapoldombles (The New York Sun, Jan 18, 2008)
• "Blurring Reality’s Edge in Fluid China" By: Dennis Lim (NYT, Jan 20, 2008)
• "Moral Landscapes" By: David Denby (The New Yorker, Jan 21, 2008)
• "Jia Zhang-ke's latest film digs up China's emotional wreckage" By: Jason Anderson (Eye Weekly, January 23, 2008)
• "Faire violence of shanshui" By: Fabienne Costa (Vertigo, #31, 2008) [FRENCH]
• Still Life review By: Peter Bradshaw (The Guardian, February 1, 2008)
• "No Place of Grace" By: Pat Graham (Chicago Reader, March 5th, 2008)
• Images By: Max Goldb (Text of Light, May 2008)
  
• "Tender Is the Regard: I Don't Want to Sleep Alone and Still Life" By: Yvette Bíró (Film Quarterly, Summer 2008, Vol. 61, N°4) p. 34-40
  
• "En Avant Jeunesse / Still Life, à l'épreuve du temps" By: Raphaël
  Clairefond (Sept 2008, Spectres du cinéma, #1) [FRENCH]
  
• "Travail de forces (sur Still Life)" By: Sébastien Raulin (Sept 2008, Spectres du cinéma, #1) [FRENCH]
  
• "Narrating changes in topography: Still Life and the cinema of Jia Zhangke" By: Eric Dalle (Summer 2011, Jump Cut, #53)
• (add link here)

The World 世界 Shijie (2004)

• "News Of The World" By: Emmanuel Burdeau (Cahiers du Cinéma, #602, Juin 2005) [FRENCH] [ENGLISH]
• "The World in a Beijing Theme Park" By: Jonathan Rosenbaum (Chicago Reader, July 29, 2005)
  
• Jonathan Rosenbaum's video trailer (FilmsWeLike)
  
• The World By: acquarello (Strictly Film School)
  
• World apart By: J. Hoberman (Artforum, 2005)
  
• (add link here)
  

Unknown Pleasures 任逍遙 Ren xiao yao (2002)

• Unknown_Pleasures
• acquarello (Strictly Film School)
  
• Elephant By: Elbert Ventura (Autumn 2004, Reverse Shot)
  
• (add link here)

In Public 公共场所 Gong gong chang suo (2001) DOC

• Cutting Edge And Missed Encounters - Digital Short Films By Three Filmmakers
• "Passerelles" By: Bernard Eisenschitz (in Cinéma03, printemps 2002) [FRENCH]
  
• (add link here)

Platform 站台 Zhantai (2000)

• acquarello (Strictly Film School) 2004
  
• Darren Hughes (Long Pauses) March 24, 2008
  
• Chet Mellema (Not coming) April 4, 2008
  
• (add link here)
  

Xiao Wu 小武 (1997)

• The absence of a moral compass in contemporary China - Xiao Wu, a film by Jia Zhang Ke at the London Film Festival
• Beijing Scene
• "Le temps d'aimer, le temps de sourire" By: Charles Tesson (in Cahiers du Cinéma, #531, janvier 1999) [FRENCH]
  
• "Jia Zhangke, au bar des poètes-récitants" By: Charles Tesson (Cahiers du cinéma, Hors série, avril 1999) [FRENCH]
  
• At the cinematheque: “Xiao Wu” (Jia Zhangke, China, 1997) By: Ryland Walker Knight (The Auteur's Notebook, Sept. 26, 2008)
  
• (add link here)

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GENERAL BIBLIOGRAPHY

• "Out Of Time: 'Unknown Pleasures' a Haunting Study of Dead-End Youth In a Rapidly Changing World, Confirms China's Jia Zhangke as a Master of Modern Alienation" By: Kent Jones (in Film Comment - September 2002, Vol. 38, #5, pp. 43-47)
  
• "Artificial Eye press release for Xiao Wu/Unknown Pleasures" By: KENT, J. A. R., JONATHAN (Artificial Eye, London, 2002)
• "La Chine en caméra cachées" By: Laurent Rigoulet (Télérama, 15 Janvier 2003) [FRENCH]
• “China Down” By: Didier Peron (in Liberation, January 22, 2003)
• “Independent Films Made by the Gang” By: Pierre Haski (in Liberation, January 22, 2003) [FRENCH]
• "Cultural Fallout" By: Michael Berry (in Film Comment, March/April 2003, pp. 61-64)
• "No future (made) in China, A propos de la trilogie nihiliste de Jia Zhang-ke" By: Antony Fiant (Trafic #46, été 2003, pp 94-105) [FRENCH]
• "Jia Zhangke's Cinematic Trilogy: A Journey across the Ruins of Post-Mao China" By: LIN, X. (Honolulu, University of Hawai'i Press, 2005)
• "The Independent cinema of Jia Zhangke: From Postsocialist Realism to a Transnational Aesthetic" By: MCGRATH, J. (Durham, Duke University Press, 2007)
• "Jia Zhang Ke, cinéaste obsessionnel des réalités sociales chinoises" By: Bruno Philip (in Le Monde, France, 30 December 2007) [FRENCH]
• Yvette Biro, "Tender is the regard" Film Quarterly, Vol.61, n°4 (Summer 2008), P. 34-40 on Tsai's I Don't Want to Sleep Alone & JZK's Still Life
  
• "The Long Shot" By: Evan Osnos (The New Yorker, 11 May 2009)
  
• (add reference here)

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BOOK on Jia Zhang-Ke

• Antony Fiant, "Le cinéma de Jia Zhang-Ke. No future (made) in China", Ed. Presse Universitaire de Rennes, Octobre 2009
• (add reference here)

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GENERAL ONLINE ARTICLES

• Jia Zhangke By: Kevin Lee (Senses of Cinema)
• "The Grit of Postsocialist Discourse: Aesthetic Realism in Jia ZhangKe's Platform and Unknown Pleasures" By: Edwin Mak (Offscreen)
  
• "Bringing the World to the Nation: Jia Zhangke and the Legitimation of the Chinese Underground Film" By: Valerie Jaffee (Senses of Cinema)
• Zhang Ke Jia, Poetic Prophet By: Jonathan Rosenbaum (JonathanRosenbaum.com, January 2008)
  
• (add reference here)

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INTERVIEW

• "A l'école de la rue" By: Charles Tesson (Cahiers du cinéma, #531, janvier 1999) on Xiao Wu [FRENCH]
  
• "Cinema with An Accent - Interview with Jia Zhangke, director of Platform" By: Stephen Teo (Senses of Cinema, 2001)
• Interview By: Antoine de Baecque (Libération, 29 août 2001) [FRENCH]
• An Interview with Jia Zhangke By: Valerie Jaffee (Senses of Cinema)
• "Un sentiment d'amertume et d'abandon" By: Jerôme Larcher ; Olivier Joyard ; Jean-Sébastien Chauvin (Cahiers du cinéma, #575, janvier 2003) on Xiao Wu, Unknown Pleasures, Platform [FRENCH]
  
• "Interview with Jia Zhang-ke, director of The World" By: David Walsh (WSWS, 29 September 2004)
  
• "Ce temps-là a disparu, entretien avec Jia Zhang-ke" By: Jean-Philippe Tessé & Emmanuel Burdeau & Pascale Wei-Guinot (Cahiers du cinéma, #602, juin 2005) on The World [FRENCH]
  
• "Jia Zhang Ke - Interview, Peintre pour caméra politique" (peau neuve.net) [FRENCH]
  
• "Life and times beyond the world" (CineAction, #68, 2006)
  
• "Life in Film" By: Bert Rebhandl (Frieze Magazine, #106, April 2007)
  
• “On n’a pas fini de digérer l’histoire récente” interview (Courrier International, #862, 10 May 2007) [FRENCH]
  
• Interview By: Michel Ciment, Lorenzo Codelli (Positif, May 2007, pp. 9-12) [FRENCH]
• "La Montagne Intouchable, entretien avec Jia Zhang ke" March 17, 2007 (Vertigo, #31, 2008) on Still Life [FRENCH]
  
• "The World is not enough: Has Jia Zhang-ke permanently left the arthouse?" (The China Film journal, March 26, 2008)
  
• Q&A NYFF with Kent Jones on Sept. 26, 2008 (FilmLinc.com) 7'
  
• "Réinventer le cinéma chinois" interview by Xu Baike in Chinese newspaper Bingdian (translated in French in Courrier International, #952, January 2009) [FRENCH]
• "Moving With The Times" interview with Andrew Chan (Film Comment, March-Avril 2009)
  
• interview By: Evan Osnos (The New Yorker, 11 May 2009) video
  
• Interview By: Dudley Andrews (Film Quarterly, Summer 2009)
  
• Hors champ By: Laure Adler (France Culture, 21 Jul 2010) [FRENCH] MP3
• (add reference here)

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TEXT BY JIA ZHANGKE

• "Jia Zhangke raconte les trois révolutions du numérique. Le paysage du cinéma chinois contemporain décrypté par l’un de ses chefs de file" By: Jia Zhang-ke (Jan 2004, Cahiers du cinéma #586, p. 20) [FRENCH]
  
• "Moving Pictures" By: Jia Zhang-ke (April 2008, GOOD magazine)
  
• Jia Zhang-Ke, "Jia Xiang 1996-2008: Jia Zhangke's directing handbook" By: Jia Zhang-ke, 2009, Ed. Peking University Press
  
• "Images that Cannot be Banned - New Cinema in China from 1995" By: Jia Zhang-ke, in BFI DVD of Still Life/Dong (at Unspoken Cinema)
  
• (add reference here)

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WEBSITES

• (add link here)

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DOCUMENTARY ON JIA ZHANG-KE

• (add reference here)
  

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Please complete, correct when needed. This is an ongoing resource page to be updated.

Roy Andersson - Cannes 2007

Roy Andersson interviewed at Cannes 2007 (video on Arte website) for Du Levende / You, the living

On narration :
"With Songs from the Second Floor, I wished to break with the traditional linear storytelling, I was so tired with it, so bored. So I decided to make a movie about the human being, all individuals together who represent the human being. I'm telling a story through many persons instead of a few lead protagonists."

On camerawork :
"Approximately 20 years ago I realized commercial filmmaking was going to an end, and I considered stopping making movies altogether. I'm a fan of the Italian neo-realism, and documentaries. I found a way to cleanse filmmaking and condense towards more abstraction. I stopped to move the camera, to cut scenes, back to a simple way to make films, like Lumière, Chaplin, very very simple. Also I was very impressed by the Spectator Theory of French critic André Bazin : the audience should have the possibility to decide what's important in the scene. The director shouldn't not "write on the nose" of the spectator what is important. Let the audience decide."

On lighting :
"For me the camera represents history, the memory. That's why I prefer a soft ambient light without shadowy corner where things could be hidden or escape the sight of the audience. You have to stand there in the light and be honest.

On camera address :
"In documentary people can look into the lens. But in fiction they cannot. But I like it and I allow myself to be a little playful because I'm so serious. It gives a good connection between the movie and the audience."

Film Time - Meditation #1

In film there is an illusion of present time; events happen on the screen and we take them as happening in the now, not in the past when they were shot. A spectator is encouraged to acknowledge the onscreen action as a sort of live broadcast from some other place. Editing, dialogue, acting and choice of shots help to create this very effective illusion. In fact, scripts are written in the present tense, for example:

EXT. WEST SIDE HIGHWAY — NIGHT

A black dog sleeps on the shoulder of the highway, head between his paws, curled up next to the barricade that separates the north and southbound lanes.

Traffic rumbles past him: yellow cabs, blue police cruisers, white limousines with tinted glass and Jersey plates. We hear the squeal of brakes. A black '65 Ford Mustang, mint condition, pulls onto the shoulder, ten yards past the dog, and backs up. The dog raises its head.

Two men step out of the car. The driver, MONTY BROGAN, midtwenties, is pale-skinned in the flickering light. A small silver crucifix hangs from a silver chain around his neck; his fingers are adorned with silver rings.

(from the The 25th Hour script by David Benioff)

A script is written as if an account or transcript of a movie that's already been shot. The screenwriter imagines the sights and sounds in his head and then transcribes them on a formatted script (this use of the present tense is of course a carryover of stageplays which were the basis of early cinema).

Contrast this with prose fiction which is mostly in the past tense. Both film and prose tell stories, yet they use a different tense. Why is that? To be sure, there are some films which use a prose-inherited narrator that uses the past tense, i.e. It happened in the summer of nineteen-fifty-nine, but as soon as that introduction is over everything that is onscreen is in the present.

So for all intents and purposes film is supposed to take place in the here and now... or is it?

There are big differences between living something (present) and recalling it later (past). As we remember, we organise. We create causal connections between events (this happened because of that), we try to justify motivations and actions through psychology or rationality, we order events chronologically so they can be more easily understood later. On the other hand, an actual live experience that touches us emotionally is rarely understood immediately. We act and react according to our impulses, previous experience and nature. Later we might try to look back and understand the whys and whats, but not as it happens.

My proposal is that film leaves the past tense to start taking place now.

Placing film time firmly in the present solidifies the veneer of realism and suspension of disbelief that any dramatic (i.e. with conflict, events, etc.) story requires. Because it is happening right now it becomes easier to accept and believe.

Let's film the present and include the honesty of ambiguity, decision-making, boredom, thought, contemplation, dialogue that's not clever or witty, actions that are not entirely understood or justified; let's film our stories as they happen now in front of the camera.

If film is to shed its ever larger affiliation with prose fiction* it must claim the present as its natural tense.

* - adaptations make up around 80% of the projects currently being made, source: industry journal Screen International, December 2007

Second Edition

I thought that there was a couple more of late contributions to arrive, but since I announced a week-long duration, let's close it (the blogathon, not the blog!), temporarily at least. Please don't give up on your contributions if you still want to post them. The CCC discussion is non-stop.

The second Contemplative blogathon only lasted 1 week this year, but it was almost as big (36 contributions!) as last year in 3 weeks (47 contributions), topping my most optimistic hopes. So thank you all very much for your generous participation once again. Full table of content for the blogathon 2008 here.
It is a (good) surprise to see more new faces this year. I thought we'd be only among old timers from the first blogathon, because this topic is boring everyone. So thanks a lot for joining in numbers this year again. We're up to 34 members now, with 8 new members.

The contributions have been exceptionally rich and varied. It's great to read all this. I'm sorry I didn't comment on every single one yet, but I will.
By the way, it's puzzling how the discussion is harder to kick in given the enthusiasm to post so many contributions. Although we had a great conversation in the two roundtables.
Also I don't know why the cross-posting here at Unspoken Cinema didn't become an habit yet. I'm wondering if it's shyness or if it's because the collective team-blog is less "in" than the individual blog? Is it a matter of territoriality? I'm still giving directions here to make sure this trend stays focus on core principles (rather than let in include more and more light-contemplative or partially contemplative attempts), but I wish this team-blog would function on its own, without a titular animator. That's why I've granted admin-rights to several old-time members, so that every changes need not my sole validation. Is there no motivation to appropriate and get this blog going on its own?

Maybe this should become an annual event, to keep track of how this trend evolves both among filmmakers and in the press. In the meantime this blog stays open, and more contributions are still welcome here anytime. I have more things to write on CCC narrative strategies on deck.

Maybe you noticed that the map of the traffic (at the bottom of the blog) was reset on January 12 2008, after a year of survey. So above is the picture right before wipe out. I'm not sure how representative this kind of traffic is, because I usually mistrust any automatised, indiscriminate counters. But it gives a general idea of the variety of origins for our readers (mostly from Europe and USA though, since it's an English-written blog).
This blog is rather confidential among art-film fans, so it's not really representative of the film blogosphere. Still, it's interesting to take a look at the blank areas on the map! Nothing in Africa, nothing in Russia, very few in South America or China... and this has to change. Quite a few in India and South Asia though. Please speak up, where ever you are. Let the global cinephile community arise.

Thank you all, participants, commentators, readers and lurkers to make this event so fascinating!
See you here soon and hopefully next year again if we last that long.

Table of Content (Blogathon 2008)

TABLE OF CONTENT

Blogathon 2008

Contributions list here

CONTEMPLATIVE TREND

• Contemplative Films as Art Films by weepingsam (at The Listening Ear)
• Experiential Cinema (Roundtable2)
• Are you sitting comfortably? by Jonathan Romney (The Guardian, Saturday October 7, 2000)
• Romney on the Contemplative trend by HarryTuttle (at Unspoken Cinema)

NARRATIVE MEANS

• Wrong Move & our institution of high art by Tucker (at PilgrimAkimbo)
• CCC synopsis (Roundtable1)
• Notes on Variations, Mostly by weepingsam (at The Listening Ear)
• Chantal Akerman: Walking Woman by Adrian Martin (at Unspoken Cinema)
• The Hook: Scene Transitions in Classical Cinema by David Bordwell (at David Bordwell's website on cinema)
• [Non-]Narrativity (Marina) Blogathon 2007
• “Art-Cinema” Narration part 1, 2 & 3 (Cineboy, a.k.a. Tucker, at PilgrimAkimbo) Blogathon 2007
• Obscure Objects of Desire: A Jam Session on Non-Narrative by Raymond Durgnat, David Ehrenstein and Jonathan Rosenbaum (at Light Sleepers)
  
• Non-narrative film criticism by HarryTuttle (at Unspoken Cinema)
  

POINT OF VIEW

• Still Light: Peter Lorre's morbid contemplation in 'Mad Love' By Glenn Kenny (at Premiere)
• On Pointing Camera by Dave (at Chained to the cinematheque)
• Meditation against Reaction Shots by Carlos Ferrão (at Meditations XXI)

SILENCE

• The Root of Mutism by HarryTuttle (at Unspoken Cinema)
• Fiant on contemporary mutic cinema by HarryTuttle (at Unspoken Cinema)
  

WALKING

• Wrong Move & our institution of high art by Tucker (at PilgrimAkimbo)
• Chantal Akerman: Walking Woman by Adrian Martin (at Unspoken Cinema)
• Reflections on urban space, public screen and interactivity by Dong Liang (at Noira-Blanchè-Rougi)

BY AUTEUR

• Apichatpong Weerasethakul : Blissfully His by Nathan Lee (at Village Voice)
• Jia Zhang-ke : The Grit of Postsocialist Discourse: Aesthetic Realism in Jia ZhangKe's Platform and Unknown Pleasures by Edwin Mak (at Faster than instant noodles)
• Chantal Akerman: Walking Woman by Adrian Martin (at Unspoken Cinema)
• Andrei Tarkovsky : Time, Memory, Mystery, Narrative by Tucker (at PilgrimAkimbo)
  

FILMS REVIEWED

• Andrei Rublev's (1969/Tarkovsky/Russia) duration. Speckled faith and running water and horses and a great big bell (part 1) by Ryland Walker Knight (at Vinyl is Images)
• Autohystoria (2007/Raya Martin/Philippines)
  - by Oggs Cruz (at Lessons From the School of Inattention)
  - by Dodo Dayao (at Piling Piling Pelikula)
• Cafe Lumiere (2003/Hou Hsiao-hsien/Japan) by Kunal Mehra (at The Wind Blows Where It Will)
• Castro Street (1966/Bruce Baillie/USA) by Mike Grost (at Classic Film and Television)
• Colossal Youth (2006/Pedro Costa/Portugal) by David Pratt-Robson (at videoarcadia)
• Encounters at the End of the World (2007/Werner Herzog/USA) by Jerry White (at Cinemascope)
• Fate (1994/Fred Kelemen/Germany) by Filmsick (at Limitless Cinema)
• Father and Son (2003/Alexander Sokurov/Russia) by Mike Grost (at Classic Film and Television)
• Hamaca Paraguaya (2006/Paz Encima/Paraguay) by Oggs Cruz (at Lessons From the School of Inattention)
• Huling Balyan ng Buhi (2006/Sanchez/Philippines) by Oggs Cruz (at Lessons From the School of Inattention)
• I Don't Want To Sleep Alone (2006/Tsai Ming-liang/Malaysia) by Ryland Walker Knight (at The House Next Door)
• Kagadanan Sa Banwaan Ning Mga Engkanto / Death in the Land of Encantos (2007/Lav Diaz/Philippines)
  - by Oggs Cruz (at Lessons From the School of Inattention)
  - by Noel Vera (at Critics After Dark)
  - by Robert Koehler (at Cinemascope)
• The Kite Runner (2007/Forster/USA) by Acumensch (at aeconomics)
• Mad Love (1935/Karl Freund/Germany) by Glenn Kenny (at Premiere)
• Mid Afternoon Barks (2007/Zhang Yuedong/China) by Edwin Mak (at Faster than instant noodles)
• Phantom Love (2007/Nina Menkes/USA) by Filmsick (at Limiteless Cinema)
• Rag and Bone (1997/James D. Parriott/USA) by Mike Grost (at Classic Film and Television)
• Syndromes and a Century (2006/Weerasethakul/Thailand)
  - by Ryland Walker Knight (at The House Next Door)
  - by Dodo Dayao (at Piling Piling Pelikula)
  
• Voices, Tilted Screens and Extended Scenes of Loneliness: Filipinos in High Definition (2007/John Torres/Philippines)
  - by Oggs Cruz (at Lessons From the School of Inattention)
  - by Dodo Dayao (at Piling Piling Pelikula)
• The Wind Blows Where It Will (2007/Kunal Mehra/USA)
  - by Tucker (at PilgrimAkimbo)
  - by Thom Ryan (at Film of the Year)
• The Wishing Ring (1914/Maurice Tourneur/USA) by Mike Grost (at Classic Film and Television)