Adynata is a figure of speech, a form of hyperbole that has been exaggerated to the point of impossibility. Similarly, Leslie Thornton’s seminal film, Adynata is also a densely assembled rhetoric: an exposition into the social representations of a perpetuated, exoticized otherness – an alien culture, an irretrievable past, an impenetrable psyche – a conjured […]
The Go Master, 2006
In distilling the life of one of the greatest (if not the greatest) Go players in history, Wu Qingyuan (Chen Chan) – an ethnic Chinese who immigrated to Japan (where he is referred to by the Japanese reading of his name, Go Seigen) in order to continue his pursuit of the game through officially sponsored […]
Springtime in a Small Town, 2002
Tian Zhuangzhung’s Springtime in a Small Town is a visually sublime and nostalgic film that is somewhat reminiscent of Satyajit Ray’s exquisite Charulata in understatedly depicting the repercussions of emotional betrayal. The film takes place in the ruins of a large rural mansion in postwar China, as a physically fragile aristocrat (Wu Jun) is reunited […]
The Blue Kite, 1993
Tietou’s (Xiaoman Chen) young life has been affected by China’s political climate from the moment of his birth. His mother, a schoolteacher named Chen Shujuan (Liping Lu), and his father, a librarian named Lin Shaolong (Quanxin Pu), were compelled to delay their wedding plans out of reverence for the death of Joseph Stalin, and his […]
In Loving Memory, 2005
My introduction to Robert Todd’s cinema was through the experimental short, Our Former Glory, a film that juxtaposes clinical, often destabilized shots of urban architecture with footage from a makeshift missing persons posting center turned public memorial on a promenade overlooking a still smoldering World Trade Center site to create a powerful and provocative rumination […]
Rising Tide, 2004
In a way, Robert Todd’s Rising Tide represents a continuation on the themes of obsolescence and disposability that runs through Our Former Glory and In Loving Memory, a reverent, quietly observed collage on the changing face of manual labor that, like Johan van der Keuken’s Springtime: Three Portraits, captures a way of life that is […]





