Zheng Jun-li

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國風
6.6

國風

May 13, 1935
In 1930, two sisters from the countryside, the serious Zhang Lan (Ruan Lingyu) and the frivolous Zhang Tao graduate from the secondary school where their mother Zhang Jie serves as principal. They both love their cousin Zuo, but have ambitions other than marriage. Their lives change dramatically when both attend university in Shanghai and encounter modern urban life and rapidly changing society. The film also depicts the emergence of Chiang Kai-shek's 1934 New Life Movement. Lianhua Film Studio did the film to appease the Nationalist Party which accused it of primarily presenting left-wing films, which was true.
野玫瑰
5.7

野玫瑰

Apr 11, 1932
« Xiao Feng », « Petit Phénix », charmante et espiègle souillon de la campagne, vit avec son père dans une épave de bateau. Jiang Bo, peintre issu d’une riche famille shanghaienne, conduisant une gigantesque décapotable coude à la portière, choisit la délicieuse impertinente comme modèle bucolique, voire davantage. Mais un premier coup de théâtre surgit : pendant que Feng pose voluptueusement dans un cadre idyllique, Hu Jin, créancier de son père, propose d’annuler la dette pour se marier avec la fille.
Romance
粉紅色的夢
4

粉紅色的夢

Dec 31, 1932
Pink Dream tells the story of a young novelist who is supported by a loving and hard-working wife. The novelist, however, is drawn to the decadent life of a socialite who introduces him to the dance halls that dot Shanghai. As the film progresses, the novelist soon learns of the emptiness of this urban existence and rejects it as a "pink dream."
Romance
艺海风光
7

艺海风光

Jan 01, 1938
Three stories about art stages. "Film City", "Drama Group" and "Dance Class".
Drama
奋斗
7.5

奋斗

Nov 29, 1932
A Chinese couple in the 1930s struggle to survive. Things get complicated for them when he enlists to fight the war against Japan.
War
大路
6.2

大路

Jan 01, 1935
Six young men from the city take jobs building roads for the Chinese Army
Comedy
新女性
6.4

新女性

Jan 01, 1935
Overnight, the sexy Wei Ming will become a successful novelist. But, desperate to get the money that she needs to cure her little daughter (and harassed by a rich, unscrupulous rake), she will end up eventually engage in luxury prostitution.
Drama
一江春水向东流
6.4

一江春水向东流

Oct 09, 1947
1930's China. The village of a poor family is taken over by the occupying Japanese army. One son, Zhongliang, leaves his wife and young son to join a medic group for the Chinese Army. The other son, Zhangmin goes into hiding to protect his family. The focus shifts back and forth from the brothers' parents and Zhongliang's wife and son to Zhongliang's newfound life of luxury in a town not too far away. The plight of Zhongliang's mother, his wife, Sufan and her son, Kongeson is contrasted with Zhongliang's rise in a flourishing company.
Drama
林則徐
6

林則徐

Aug 21, 1959
China 1839. Because the British imports of opium into Southern China are creating such widespread medical and economic problems, the weak Manchu emperor Tao Kuang is forced to take action that precipitates the 'Opium War'.
War
一江春水向东流
6.4

一江春水向东流

Oct 09, 1947
1930's China. The village of a poor family is taken over by the occupying Japanese army. One son, Zhongliang, leaves his wife and young son to join a medic group for the Chinese Army. The other son, Zhangmin goes into hiding to protect his family. The focus shifts back and forth from the brothers' parents and Zhongliang's wife and son to Zhongliang's newfound life of luxury in a town not too far away. The plight of Zhongliang's mother, his wife, Sufan and her son, Kongeson is contrasted with Zhongliang's rise in a flourishing company.
Drama
枯木逢春
1

枯木逢春

Jan 02, 1961
A critical hit during one of China’s most politically charged periods, Zheng’s follow-up to his 1959 anniversary epics merged Soviet-style socialist realism with his own breakthroughs in film technique, specifically his use of continuous camera movement in the spirit of traditional Chinese scrolls. Tractor-kino at its finest, the film revolves around two rural lovers—one struck with a deadly disease—and their eventual survival thanks to socialist medical advances.
Corbeaux et moineaux
5.8

Corbeaux et moineaux

Jan 11, 1949
A critical hit during one of China’s most politically charged periods, Zheng’s follow-up to his 1959 anniversary epics merged Soviet-style socialist realism with his own breakthroughs in film technique, specifically his use of continuous camera movement in the spirit of traditional Chinese scrolls. Tractor-kino at its finest, the film revolves around two rural lovers—one struck with a deadly disease—and their eventual survival thanks to socialist medical advances.
Drama
聂耳
1

聂耳

Apr 30, 1962
Shot in gorgeous color, this fascinating communist flipside to fifties Hollywood music biopics chronicles the life and tragic early death of Nie Er, the composer of the PRC’s national anthem.
Drama
民族万岁
1

民族万岁

Jan 01, 1940
A documentary on the anti-Japanese war, once thought to be lost but eventually a print was discovered in the archive of Taiwan.
Documentary
民族万岁
1

民族万岁

Jan 01, 1940
A documentary on the anti-Japanese war, once thought to be lost but eventually a print was discovered in the archive of Taiwan.
Documentary
Corbeaux et moineaux
5.8

Corbeaux et moineaux

Jan 11, 1949
A documentary on the anti-Japanese war, once thought to be lost but eventually a print was discovered in the archive of Taiwan.
Drama
聂耳
1

聂耳

Apr 30, 1962
Shot in gorgeous color, this fascinating communist flipside to fifties Hollywood music biopics chronicles the life and tragic early death of Nie Er, the composer of the PRC’s national anthem.
Drama
我們夫婦之間
1

我們夫婦之間

Mar 02, 1951
An absorbing example of genre filmmaking in the People’s Republic of China, Husband and Wife could at first glance be mistaken for any other romantic melodrama chronicling the rise and decline of a married couple’s love; here, though, that love takes place in (and is entirely defined by) a realm of political upheaval and Maoist ideology. A Shanghai intellectual marries an illiterate peasant woman–turned–collectivist hero, with outcomes both universal (differences emerge) and specific (revolutionary self-critiques). At first a popular hit, the film (and Zheng himself) was soon critically attacked for counterrevolutionary, pro-bourgeois thought. Zheng even penned a confessional autocritique, but the damage to his career was done. (BAMPFA)
我們夫婦之間
1

我們夫婦之間

Mar 02, 1951
An absorbing example of genre filmmaking in the People’s Republic of China, Husband and Wife could at first glance be mistaken for any other romantic melodrama chronicling the rise and decline of a married couple’s love; here, though, that love takes place in (and is entirely defined by) a realm of political upheaval and Maoist ideology. A Shanghai intellectual marries an illiterate peasant woman–turned–collectivist hero, with outcomes both universal (differences emerge) and specific (revolutionary self-critiques). At first a popular hit, the film (and Zheng himself) was soon critically attacked for counterrevolutionary, pro-bourgeois thought. Zheng even penned a confessional autocritique, but the damage to his career was done. (BAMPFA)