Zhang Yimou   

 

 Chinese filmmaker. I form in Institute of Cinema of Pekin. His promotion was the fifth one that I license in the Institute, and when several filmmakers of prestige coincided with her, pasaria to being known as The Fifth Generation, of whom serious Yimou his maximum exponent. His career comenzo of I resolve with the studies that habia realized; it is to say, as chamber, having the premiere in the Studies Guanxi with one and eight, the movie of another filmmaker belonging to the same promotion: Zhang Jun-Zhao. Zhang Yimou Already with this facet comenzaria to harvesting prizes: recibio the Rooster of Gold, Prize to the Best Image, for Yellow Earth, of Chen Kaige. But Yimou was touched by everything what it had to see with the cinema, aside and to other one of the chamber and soon empezo to devote itself to the interpretation, demonstrating that triunfaria in any cinematographic activity in the one that was doing incursion, on having won with The old well, of Sun Wang-Quan, the Prize to the Best Masculine Interpretation in the International Festival of Cinema of Tokyo in 1987. Red sorghum was not alone his first title as the director, but the first modern movie released commercial in China. Till then, the works of the Fifth Generation only habian dress in USA, in festivals and universities. Red sorghum narrates the history of a young woman who takes the reins of his plantation when there dies his husband, a leprous old man whom they forced him to marry. It is a romantic and symbolic melodrama that praises the type of social denunciation that doing Yimou seguira along his cinematography. It is also the beginning of his joint career with Gong Li, which was extending with six titles mas, until after The Jewel of Shanghai the sentimental break of the pair takes place. Red sorghum possesses the quality of a fairy-tale and already it announces the importance that Yimou grants to the images, not only as aesthetic fascinating element, but as front of an interpretation mas deep. In case of red Sorghum, Yimou is useful to do an allegoric writing that highlights the kindness of the collective work; that reviles the capitalist exploitation attacked with the union of them? Nicos that can extract fruit of the land: those that her work. The movie I gain in 1988 the Golden bear in the Festival of Berlin. This one was the way in which Yimou was inaugurating his career. Seed of chrysanthemum recaptures the relation I love old man – young man handcuffs, binomial that convertira in another constant in Yimou’s cinema. The movie was prohibited in China, but the international festivals received her warmly. I gain the Prize to the Best Director in Cannes and the Hugo of Gold in Chicago, and it was nominated to the Oscar as better foreign movie. The protests of the Chinese were directed a reading that for the western podria to turn out to be searched carefully: for them was it a political fable in which the merchant representaria to the old order Maoist and not? Or, to the Red Guard. Gong Li was devoting itself in sin? Or universe of the Chinese stars. In 1991 there was having the premiere The red lantern (León of Silver in the Festival of Venice), that is considered now, already from the distance, the movie mas perfect of Yimou, which decidio to leave momentarily the titles of epoch with his following production, Qiu Ju, a Chinese woman. After the big dramas that recogian part of the theatrical Chinese tradition, Qiu Ju (León of Gold in the Festival of Venice) is mas similar to a comedy that Yimou habia rolled up to the date; it approaches in occasions the European neorealism, promoted by the fact that only three principal actors are professional. The history centres in as a kick in the crotch given for drink by a chief to one of his workers, mobilizes the absurd mechanics of the bureaucracy in search of the justice, which there tackles the woman of the attacked one that, you prop, is in outpost been of gestation. Is many hard mas his following title? To live!, that I gain the Great Prize of the Juror in the Festival of Cannes in 1994, and that appears as a historical chronicle of China between them to? You forty and eighty, across a family. Even showing the changes of power? To live! It is not an eminently political movie. Actually does the political background that could have Yimou’s history remain always disguised behind of the individual histories, those that can come mas easily to p? Blico. To show since modest family suffers the stakes of the historical events is narratively mas gratificante that to centre the story on the same facts. In? To live!, once again the feminine personage this one promoted opposite to everything else and certainly, opposite to the masculine one. Gong Li is capable of transmitting the psychological universe of Yimou and his personage, that of an unknown heroine. It is capable of facing everything what mermaria the hope of anyone, for a simple desire: of having a calm life together with his husband. In 1995 do I release The jewel of Shanghai, which narrates the history of a mafioso and his dear one, set in them to? You thirty. Endowed with an impeccable aesthetics, with a decadent and sensual image, the movie was nominated to the Oscar by his photography in 1996 and was rewarded in the same category by the Critique of Them? Ngeles and that of New York, both in 1995. It is one of his histories mas touching, with that he continues condemning the destination of the Chinese woman and the difficult survival of his dignity. And it does it in a chilling way, using like in other occasions the death with a dye simultaneously terribly and poetically, distressing. Keep Cool bases on Shu Ping’s novel; the history breaks with the cinema realized up to the date, renewing not only the subject matter, but the way of narrating. It changes the static thing into the dynamic thing, doing that the chamber involves in a continuous movement, what some of them have hurried to interpreting as the anarchic condition in which today the Chinese youth is unrolled. The way in which it treats the difference of thought between the generations and the tension inside the scenes they are his better advantages. In 1999 was he the winner of 56? Mostra of Venice, on having obtained the León of gold neither for his movie Nor one less. With Hero recibio the Prize Alfred Bauer de la Berlinale 2003 to the work mas innovative. (Xian, Shaanxi, 1950)   

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