Wang Xiaoshuai
Director
China
Voted for
| Film | Year | Director |
|---|---|---|
| 8½ | 1963 | Federico Fellini |
| Tokyo Story | 1953 | Yasujirō Ozu |
| Spring in a Small Town | 1948 | Fei Mu |
| Throne of Blood | 1957 | Akira Kurosawa |
| Blowup | 1966 | Michelangelo Antonioni |
| A City of Sadness | 1989 | Hou Hsiao-Hsien |
| The Wind That Shakes the Barley | 2006 | Ken Loach |
| Elephant | 2003 | Gus Van Sant |
| A Separation | 2011 | Asghar Farhadi |
| The Square | 2017 | Ruben Östlund |
Comments
8½
Using the camera as a pen for writing stream-of-consciousness.
Tokyo Story
Ozu created eastern cinema aesthetics, a sympathetic narrator.
Spring in a Small Town
The earliest masterpiece of Chinese cinema. The advanced mise-en-scène and camera language paralleled the world cinema at that time. The de-ideological story has kept its aesthetics alive to this day.
Throne of Blood
Incredible ending and eastern mysticism.
Blowup
The calmness of camera moves and narrative techniques created the unreality in reality.
A City of Sadness
The light of Chinese cinema, directly facing the unbearable history. Magnificent.
The Wind That Shakes the Barley
An unshakable believer fighting for freedom and independence.
Elephant
A great piece of contemporary juvenile delinquency with extremely elegant structure and mise-en-scène.
A Separation
A surprisingly breakthrough for Iranian cinema. Deep dissection of social issues and reconstruction of belief.
The Square
The contemporary image aesthetics, the self-salvation of human nature in modern society.