In China, homosexuality isn't illegal, but homosexuals are routinely persecuted by police and arrested for "hooliganism". The film focuses on a young gay writer A-Lan who, being attracted ...
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The river Suzhou that flows through Shanghai is a reservoir of filth, chaos and poverty, but also a meeting place for memories and secrets. Lou Ye, who spent his youth on the banks of the ... See full summary »
Yiu-Fai and Po-Wing arrive in Argentina from Hong Kong and take to the road for a holiday. Something is wrong and their relationship goes adrift. A disillusioned Yiu-Fai starts working at a... See full summary »
Tony Chiu-Wai Leung,
Jeff is taking care of everything Mark left behind when he died. Mark was about to have a visitor, Andrea, an Italian guy he met online. Both of them will have the chance to share memories of the Mark they knew while knowing each other.
When school teacher Harriet Winslow goes to Mexico to teach, she is kidnapped by Gen. Tomas Arroyo and his revolutionaries. An aging American, Ambrose "Old Gringo" Bierce also in Mexico, ... See full summary »
Rejected by Hollywood and facing pressure to return to Stalinist Russia, filmmaker Sergei Eisenstein travels to Mexico to shoot a new film. Chaperoned by his guide Palomino, he experiences the ties between Eros and Thanatos, happy to create their effects in cinema, troubled to suffer them in life.
In China, homosexuality isn't illegal, but homosexuals are routinely persecuted by police and arrested for "hooliganism". The film focuses on a young gay writer A-Lan who, being attracted to a young policeman, manages to have himself interrogated for a whole night. His life-story which he tells during the interrogation reflects the general repression of the Chinese society. The policeman's attitude shifts from the initial revulsion to fascination and, finally, to attraction. Written by
Piotr Zembrowski <firstname.lastname@example.org> (after David Overbey)
In 1997 the Chinese government put director 'Zhang, Yuan' under house arrest and confiscated his passport. His friends smuggled this movie out of the country so it could be shown at the 1997 Cannes film festival. See more »
'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.
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