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From Deal Frenzy to Decoupling: Is the China-Hollywood Romance Officially Over? Patrick Brzeski
Nomadland at the 93rd Oscars, Disney began tiptoeing around potential land mines with regard to China, the director’s home country and the studio’s most important international market. “Please note in your ongoing coverage of
Nomadland that Chloé Zhao is a Chinese filmmaker,” an executive for Disney-owned Searchlight emailed members of the Hollywood press on March 4. “You may accurately refer to her as Chinese or a Chinese National.”
A number of news outlets, including
The New York Times, had mistakenly referred to Zhao as Asian American, but the bluntness and blanket nature of the proviso was conspicuous. As it would turn out, Disney had abundant reason to be concerned over how the provenance and perceived allegiances of its rising star director, who was also helming the studio’s forthcoming $200 million Marvel tentpole
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Last modified on Mon 26 Apr 2021 12.33 EDT
It turns out that cinephilia is a productive use of time after all. When his computer is searched, Li Weijie, protagonist of this perky Chinese thriller, has watched 838 films in a year â and he uses his superior knowledge of the seventh art to get his family out of a pickle. Chinese but living in northern Thailand, he scrapes by as an internet technician, but his daughter finds herself at the centre of a murder investigation after she accidentally kills the son of a police chief who was trying to blackmail her with smartphone-filmed rape footage.
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