Criterion Giveaway of Pale Flower and Boat People

Criterion is releasing two masterpieces of Asian cinema this March, Ann Hui’s “Boat People” and Masahiro Shinoda’s “Pale Flower” and on the occasion, we are offering 2 of our readers in the UK the chance to win one of the two titles. All you have to do is comment to this post with your name and city of residence. The draw will take place on March 11.

Masahiro Shinoda directs a title that thrives on one of the most impressive noir atmospheres ever to be presented on film. To achieve this level, Shinoda implements all kinds of cinematic aspects, particularly during the gambling scenes, which emerge as the most impressive in the movie. The Ozu-esque visual approach (Shinoda worked as his assistant after all) is enriched with a number of panoramic shots and an approach towards the introductions of each character through the view of the rest of the people on each scene, which works wonders for their individual sketching. Particularly the ways the protagonists are made to stand out, and especially Saeko’s difference from the rest of the “inhabitants” are highlighted in the most impressive fashion, in a testament to Masao Kosugi’s work in the cinematography, which also thrives on his distinctly noir use of shadows. (Panos Kotzathanasis)

Shot on Hinan Island, Mainland China, it features carefully reconstructed houses, markets and costumes and despite the realistic representation of social problems, the direction and editing are dynamic and far from documentary style. Ann Hui had carried out countless interviews to refugees for her previous Vietnam movies and she uses them to enrich the script with subplots and profoundly humane characters such as the charismatic “Madame” (Cora Miao) and the disenchanted and decadent Comrade Nguyem (Qimeng Shi). While George Lam’s performance is compassionate but at the same time provides a little relief above the misery, Andy Lau in an early role is an explosive mix of youth, passion and drama and interestingly in the first draft of the script he was intended to be the point-of-view character. (Adriana Rosati)