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Clarence Tsui

More from Clarence Tsui

‘Dwelling in the Fuchun Mountains’ (‘Chun Jiang Shui Nuan’): Film Review | Cannes 2019

First-time filmmaker Gu Xiaogang's two-hour-plus 'Dwelling in the Fuchun Mountains' tracks a provincial family's transformation across four seasons.

‘The Halt’ (‘Ang Hupa’): Film Review

Bowing at the Directors' Fortnight sidebar in Cannes, Philippine auteur Lav Diaz's four-hour-plus 'The Halt' is set in a dark, despot-driven world in 2034.

‘To Live to Sing’ (‘Huo Zhe Chang Zhe’): Film Review | Cannes 2019

The second film of China-born Canadian filmmaker Johnny Ma, 'To Live to Sing' deals with a Sichuan Opera troupe and its manager's struggle when her theater is threatened with demolition.

‘Blue Hour’ (‘Buru Awa ni Buttobasu’): Film Review | Filmart 2019

Kaho and Shim Eun-kyung star as two friends visiting a provincial city in 'Blue Hour,' Japanese filmmaker Yuko Hakota's first full-length feature.

‘Territory of Love’ (‘L’Autre Continent’): Film Review | Filmart 2019

Deborah Francois and Paul Hamy star in 'Territory of Love,' Romain Cogitore's Franco-Taiwanese romantic drama.

‘The Torment of Ghost’: Film Review | Filmart 2019

Huy Yaleng's 'The Torment of Ghost' charts a criminal tycoon's downfall as he struggles with nightmares in which he is tortured by a former Khmer Rouge cadre.

‘Orphans’ Blues’: Film Review | Filmart 2019

Japanese filmmaker Riho Kudo's 'Orphans' Blues,' about a young amnesiac's attempt to find an estranged childhood friend, won the Grand Prize of the indie-oriented Pia Film Festival in Tokyo in the fall.

‘My Little One’: Film Review | Filmart 2019

A Swiss-funded road movie about two men who travel into the Navajo lands in Arizona to understand the life of the women they both loved.

‘Winter After Winter’ (‘Dong Qu Dong You Lai’): Film Review | Filmart 2019

First-time filmmaker Xing Jian's black-and-white 'Winter After Winter,' about a rural Chinese family's struggle to survive and continue their lineage during the second world war, receives its Asian premiere in Hong Kong after bowing in Rotterdam.

‘Chinese Portrait’ (‘Wo De Jing Tou’): Film Review | Filmart 2019

Wang Xiaoshuai's 'Chinese Portrait' reconstructs his and his country's past through images of cities, factories and trains filmed throughout the past decade.

‘Nakorn-Sawan’: Film Review | Filmart 2019

Thai filmmaker Puangsoi Aksornsawang's 'Nakorn-Sawan,' a docu-drama hybrid revolving around her late mother, bows in Hong Kong after screenings in Busan and Berlin.

‘Vanishing Days’ (‘Man You’): Film Review | Berlin 2019

Twenty-two-year-old helmer Zhu Xin's 'Vanishing Days,' about a teenager's surreal experiences during one summer in the picturesque city of Hangzhou, bowed at Berlin's Forum program.