After her six year old son is kidnapped, a successful fashion designer must work with a detective to clear up the terrifying mystery and get her son back.

1.65GB | 1h 30m | 803×452 | mkv

https://nitro.download/view/CC6C110A571D170/Kidnapped.1983.DVDrip.x264.mkv

Language(s):Chinese
Subtitles:Chinese,English

The post I-Chen Ko – Dai jian de xiao hai AKA Kidnapped (1983) first appeared on Cinema of the World.

There is usually only one full moon every month, but occasionally there are two – and that second full moon is called the “Blue Moon”. It is said that when a person sees a blue moon and makes a wish, he will be granted a second chance in things. This film is about two young men and a woman who are granted not only a second, but 120 chances. This is because the film is structured in such a way that its five reels of footage can be projected in random sequences every time it is screened and the story will still make sense – the number of possible combinations adds up to 120 times; each time there is a different story, different rhythm and different atmosphere.

2.07GB | 1h 37m | 1024×576 | mkv

https://nitro.download/view/F2049E931173575/Blue.Moon.1997.BDRIP.576p.x264.AC3.KJNU.mkv

Language(s):Mandarin
Subtitles:English hardsubbed

The post I-Chen Ko – Lan yue AKA Blue Moon (1997) first appeared on Cinema of the World.

Quote:
After graduating foreign languages department at Soochow University, he moved to USA, where he received MA in Film from Columbia College in California. While in America, he managed to create two well-received short films. In the early 80s he came back to Taiwan. In 1983 he was invited to direct one of the segments in an omnibus film The Sandwich Man. His episode is entitled The Taste of Apple (蘋果的滋味). The two other parts were directed by Hou Hsiao-hsien and Zeng Chuang-hsiang. This movie, together with another anthology film – In Our Time (1982), is considered a landmark in the emergence of the so-called Taiwanese New Wave. Among his other films, the most significant are Ah Fei (1984), Super Citizen Ko (1995) and Connection by Fate (1998). Wan Jen focuses mainly on issues concerning the Taiwanese society – both historical and current ones. His works are valued for their political and social criticism. In 1996, Chinese Writer’s & Artist’s Association awarded him Chinese Arts Medal for his achievements on field of film. His wife, Su Ming-Ming, is an actress.

Quote:
“Wan Jen characterized himself as a “commercial” director and an intellectual. All his films dealt with Taiwan history or current social issues. His first feature-length narrative, Ah-Fei/Youma caizi (1984), based on female writer Liao Hui-ying’s popular novel of the same title, reflected the fate of women in the first three-quarters of the 20th century, as well as the change of women’s position in Taiwan from agricultural society in the 1950s to industrialized society in the 1980s. The film won the Best Adapted Screenplay (Hou Hsiao-hsien and Liao Hui-ying) award at the 1984 Golden Horse Awards.”

840MB | 1h 51mn | 704×384 | mkv

http://nitroflare.com/view/4A7DD1B6B126BAD/Youma_Caizi.Ah_fei.Wan.Jen.1983.mkv

Language:Mandarin
Subtitles:Traditional Zh Hard

The post Jen Wan – Youma caizi AKA Ah Fei AKA Rapeseed (1983) first appeared on Cinema of the World.

Quote:
Lung, a former member of the national Little League team and now operator of an old-style fabric business, is never able to shake a longing for his past glory. One day, he runs into a forme teammate who is now a struggling cab driver. The two talk about old times and they are struck by a sense of loss. Lung is living with his old childhood sweetheart Ah-chin, a westernized professional woman who grew up in a traditional family. Although they live together, Ah-chin is always weary of Lung’s past liason with another girl. After an argument, Ah-chin tris to find solace by hanging out with her sister’s friends, a group of westernized, hedonistic youths.

Andrew Chan wrote:

To appreciate just how bitter a pill Edward Yang was serving up with Taipei Story, it helps to understand the sarcastic fake-out embedded in the film’s Chinese title. Lifted from a poem by Tang dynasty master Li Bai, Qingmei zhuma translates literally as “Green plum, bamboo horse,” a phrase that, like many classical idioms in the language, distills human experience to a tableau of emblematic objects that can be savored by the mind’s eye. Here the experience being described is one of kismet—an eternal love that evolves out of the carefree games of childhood and preserves its innocence even as the companions age. Seeing these words on a marquee in 1985, the year the film was released, the average Taiwanese viewer would have been primed to expect the kind of escapist melodrama that commercial Chinese-language cinema had excelled at for decades, or at least something in tune with the treacly hit ballads of lead actress (and Yang’s first wife) Tsai Chin. But instead of the pastoral, ever-blooming romance evoked in Li Bai’s lines, what we get is the dry chill of urban malaise. Andrew Chan for Criterion

Ignatiy Vishnevetsky  wrote:

Co-written with Hou and Hou’s longtime writing partner, Chu Tien-Wen, Taipei Story is like so many Yang films in that it doesn’t pinpoint the contradictions of modern living in characters so much as in what they navigate on a day-to-day basis: environments, spheres of couple-hood and family life. It paints a picture of a mid-1980s Taiwan awash with conflicting American and Japanese cultural influences. Yang is obsessive about cataloging and contrasting these: the music of Michael Jackson (both heard and referenced) versus the huge neon Fuji Film billboard that provides an arresting backdrop for several scenes; Lung’s preference for a karaoke bar over the faux Anglo-American “pub” favored by Chin’s wannabe-yuppie friends; the repeated references to baseball, the quintessential American pastime that is now arguably more popular in Japan. But because Yang almost never uses close-ups, but instead relies largely on medium-wide shots that can accommodate two or more characters, these things are seen as surroundings—part of the mise-en-scène, a term and concept that has sadly fallen out of fashion. It is the world in which Lung and Chin exist, framed lucidly by Yang and his cinematographer, Yang Wei-Han. Ignatiy Vishnevetsky for A.V. Club

http://nitroflare.com/view/5F384C2F38B040C/Qing.mei.zhu.ma.AKA.Taipei.Story.1985.720p.BluRay.x284.AAC1.0.pirata00.mkv

Language(s):Min Nan | Mandarin | Hokkien
Subtitles:English

The post Edward Yang – Qing mei zhu ma AKA Taipei Story (1985) first appeared on Cinema of the World.