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“Only One Earth” (只有一个地球) is a pioneering Chinese environmental documentary series presented in four parts. The project was produced by CCTV with support from state environmental authorities (then the National Environmental Protection Agency, now the Ministry of Ecology and Environment), but it did not pass censorship and was not permitted to air. (It was originally planned to premiere on the first celebrated Earth Day in China in 1990.) It approaches ecological crisis through an experimental, essayistic lens shaped by the concerns of reform-era Chinese intellectuals, confronting the toll of global industrialization. Directed by Chen Jue (a member of SWYC, the same collective behind the following year's banned Tiananmen series), Only One Earth uses literary, academic, and archival materials alongside a visual style influenced by experimental cinema.
Overseas Chinese making a life for themselves in Chicago. A Chinese-U.S. joint production, shot in 1993 and released in 1996.
A CCTV-commissioned, 8-part series shot between 1988 and 1990, but barred from being released after the events of June 4th. A production of the Structure, Wave, Youth, Cinema (SWYC) Experimental Group, an informal collective of young filmmakers founded in the summer of 1989 and devoted to the production of documentaries, that includes: this series' two directors, Shi Jian and Chen Jue, as well as Beijing TV's Wang Zijun, and this series' screenwriter, Kuang Yang (under the name Guang Yi). Tiananmen documents various aspects of life surrounding the Square: survivors of the imperial era, street performers, fledgling entrepreneurs, fashion school students, foreigners marrying Chinese nationals, and so forth. Each episode starts with a close-up of a giant portrait of Mao hung over the Square, and proceeds as a hybrid of archival footage, direct cinema, and cinema verité, weaving a permanent dialectic between the present and the past, daily life and history.
A documentary produced to disseminate historical truth about the 1937 Nanjing Massacre to international audiences. It records the Shorinji Kempo Organization of Japan’s 40th-anniversary visit to China, but rather than serving as a simple travelogue, it uses the 299 participants’ journey—beginning in Nanjing—as a confrontation with the facts of Japan’s wartime aggression and the choices demanded in the present. Through Chinese filmmakers’ perspectives, testimony, archival images, and narration addressing the Nanjing Massacre, nuclear war, militarization, and historical responsibility, the film asks viewers to reject indifference, self-justification, and the concealment of inconvenient history. It argues that peace cannot remain an abstract ideal or be left to governments and power-seekers; each person must begin from the shared human right to survival, face history honestly, and choose concrete action toward mutual understanding and peace.
When a foreign spy organization sabotages China-U.S. peace talks through assassination and tech theft, National Security officer Yang Guang launches a covert investigation. As he closes in on the culprits, a mysterious woman frames him, forcing Yang to fight for both justice and his innocence in a deadly game of espionage.
Set in the 1930s, “Fortress Besieged” follows the misadventures of Fang Hung-chien, a bumbling everyman who wastes his time studying abroad, and secures a fake degree when learning he has run out of money and must return home to China. Fang was the son of a country gentleman. A marriage had been arranged for him while at university, but the intended wife died before he could see her.
The employees of a massage parlour share a close bond with each other as they all share a trait in common, they are all visually impaired.
A detective teams up with a chivalrous thief to catch a Japanese spy.
After being discredited as a coward, a 19th century seaman lives for only one purpose: to redeem himself. Preserved by the Academy Film Archive in partnership with Sony Pictures Entertainment in 2000.