January Screenings of Chinese-Language Films in NYC and Los Angeles



New Releases:

Mojin: The Worm Valley 云南虫谷 (Fei Xing, 110 min, 2018)

Opens 01/04 at AMC

Following in the footsteps of blockbuster MOJIN: THE LOST LEGEND and based on the bestselling novel series, MOJIN: THE WORM VALLEY once again finds legendary tomb explorer Hu Bayi on a dangerous mission as he seeks out the Tomb of Emperor Xian, located on an island of monstrous creatures in this mystical action-adventure.

Still in theatres:

Kill Mobile (YU Miao, 90 min, 2018)

Opens 12/28

Seven friends get together for dinner, and decided to play a game where they must share all messages and calls of their cell phones. Throughout the evening, wechat messages, phone calls and APP notifications are coming out continuously. Remake of the Italian film PERFECT STRANGERS directed by Paolo Genovese.

A Cool Fish 无名之辈 (RAO Xiaozhi, 109 min, 2018)

AMC Atlantic Times Square 14 in L.A.

Cop-turned-security guard Ma Xianyong finds himself in a criminal twilight zone when two unrelated events turn his world upside down. The mysterious disappearance of his boss has implications for his financial security. Even more perilous is the abduction of his paralyzed sister who, unknown to Ma, makes a morbid deal with her captors.

Airpocalypse 天气预爆 (XIAO Yang, 106 min, 2018)

AMC Atlantic Times Square 14, AMC Puente Hills 20 in L.A.

Xiao Yang marks his directing debut with this Chinese comedy about four fallen Gods responsible for the environmental disaster that engulfs their land. When a human accidentally takes one of the God’s powers, he must train to be one of them, either to become the land’s savior or their ultimate doom.



MoMA Presents: The Contenders 2018 series

The Rider (Chloe Zhao, 104 min, 2017)


Based on Brady Jandreau’s own life story and starring him and his family as fictionalized versions of themselves, The Rider is an exploration of manhood in the American heartland and what it means to have a calling. Director Chloe Zhao’s second feature amplifies one family’s true story into a tale of universal longing for purpose and identity.

Also plays at the Museum of Moving Images on 01/05, as a part of Curators’ Choices.


Metrograph Presents: Late Nites at Metrograph

Kaili Blues

Kaili Blues 路边野餐 (BI Gan, 113 min, 2016)

01/10 – 01/12

Chinese filmmaker Bi Gan’s brilliant directorial debut—which collected prizes at the Locarno Film Festival—is an audacious work that announced a major new filmmaking talent. Country doctor Chen Sheng sets out on a train journey to search for his brother’s abandoned child, only to find himself in a dreamlike world where the boundaries between past, present, and future—and between fantasy and reality—are porous. This remarkable visual achievement, which feels as singular and alien as the films of the great Apichatpong Weerasethakul, was shot in the mining village Kaili, the director’s birthplace, and incorporates poetry he’s been writing since he was a teenager.

Black Coal Thin Ice 白日焰火 (DIAO Yi’nan, 110 min, 2014)

01/31 – 02/02

Winner of the Golden Bear at the Berlin film festival, Yinan’s stylish, daring, neon-lit tour-de-force is a mystery epic which begins with the discovery of a severed hand amid the coal on a factory conveyor belt. Cop Zhang (Liao Fan) follows the case, but five years later, when he’s drinking heavily and working as a security guard, the body parts are still showing up. A sumptuous nocturnal noir which has drawn comparison to David Fincher’s Zodiac, and a landmark in the Chinese crime film.


Museum of Moving Images Presents: First Look 2019

The eighth edition of First Look, the Museum’s acclaimed festival of innovative new international cinema, will include more than two dozen programs, featuring formally inventive new works that seek to redefine the art form while engaging in a wide range of subjects and styles.

The Pluto Moment

The Pluto Moment 冥王星时刻 (ZHANG Ming, 110 min, 2017)


Strange dynamics start to take shape the deeper they travel into the woods, and the less certain they feel about the direction and purpose of their mission. Zhang Ming’s sleeper standout from Cannes Directors’ Fortnight is a consistently entertaining and deft piece of storytelling, critiquing the artistic process on macro and micro levels while remaining true to its complex characters. North American premiere.


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