A review by Alex Fields. In Oxhide I & Oxhide II, filmmaker Liu Jiayin takes us into a cramped Beijing apartment, casting her parents and herself as fictionalized versions of themselves. In the following post, film critic Alex Fields pays particular attention to the second installment, wherein the director fixes her camera around the kitchen […]

Ovid asked me to recommend a selection of films streaming on their channel. Initially attracted by the documentaries they offer about musicians I love, including Ornette Coleman, Pulp, Bill Callahan, and the Magnetic Fields, instead I picked ten features that are not music docs. Nevertheless, I do have to recommend Joe Angio’s Revenge of the […]

Jiayin Liu’s Oxhide (2005) is composed of 23 static shots, inside of a small, claustrophobic apartment in Beijing, China. Within each shot are only pieces of the apartment, along with only pieces of Liu, her mother and her father. She commits to a narrative refraction of an only child in a family of bag makers with a non-fictional rigor that eschews any kind of objective context for a Western spectator. Distinctions between the film’s events and Liu’s real life cannot be accounted for. Her presentation operates with biblical fervor, awash in every frame, are individual moments that are p

Mothers and daughters have incredibly complicated relationships but few have been so thoroughly dissected with a gaze simultaneously affectionate and unforgiving. The raw and beautiful nature of this fundamental relationship evolves and twists in Yang Mingming’s character-driven debut feature. Originally premiering in the prestigious Berlin Panorama in 2018, the ironically titled “Girls Always Happy” is directed, written and edited by Yang, who also stars.

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