Since 1980s Asian films, made in countries from Iran all the way to China or Japan, have won most of the awards at international film festivals and therefore corroborate the fact that the most innovative and interesting films of contemporary cinema come from this part of the world. Those responsible for the good image of Asian films are mainly Chinese filmmakers who are often regarded as some of the best world directors. Undoubtedly, one thing that has helped Chinese films and directors reach international fame is the fact that Chinese authors have spoken very critically about the problems faced by their contemporary society. On the other hand, this criticism has often caused them problems with the Chinese government. Similar problems with authorities happened in other socialist countries as well; let us not forget the persecution of the Black Wave in former Yugoslavia and requests for constructive criticism. However, such authors are not represented in this program of contemporary Chinese films, which focuses on positive elements of modern China.


In the film Hand in Hand, students from the city come to visit their colleagues in a village school. This is an opportunity to show the different mentalities, to point out the natural beauties of the Chinese provinces as well as to depict how differences in social and financial standards are not obstacles for making new friendships. In the next film, Farewell to Death, about a drug addict, the protagonist’s life is saved not only thanks to his faithful wife and friend but also to the very humane police. The film Final Dash critically describes how private companies function by showing how the protagonists have to risk not only their own possessions but also their private lives in order to enable an important scientific discovery to be made in China and to prevent the Americans from buying it for themselves.


These films remind us of social realism’s idea that film should be, more than any other art form, a mirror image of life. The focus is on things that are positive in these societies or nations, but we must point out that these films are not plain propaganda and that such elements are not directly presented but are rather intertwined with this specific genre of melodramas that manage to engage the viewer. Finally, these films show that Chinese cinema is quite mature and successful. These films, rarely seen outside of China, show us a different face of Chinese film. They are especially interesting because they are sort of a testimony of the spiritual state that is at least partly responsible for the fascinatingly fast progress of modern China, which remains one of the most impressive phenomena of modern history.
Tomislav Kurelec