Deng is a stubborn retired widow who spends her days caring about her two grown up sons and her elderly mother, despite her family efforts to stop her. But her daily routine starts derailing when she keeps receiving anonymous calls. What’s happening to her? Who could have anything against her? Even her husband’s ghost doesn’t seem to know…
- Zhong Lü
- Shi Liu
- Yuanzheng Feng
- Hao Qin
- Amanda Qin
- WANG Xiaoshuai
- FANG Lei
- LI Fei
- WU Di
- YANG Hongyu
Since my father’s death, my 70 year old mother, who lives alone, still wants to take care of her grandchildren and children. She seems to be unaware of the concept of taking some rest. Her life makes me reflect on Chinese people's way of life. Her generation lost self-consciousness. They don't know who they are and how life can be otherwise… From this, the first idea that I had was to make a film about a woman always on the move. While I was working on the script, I found that this was a popular phenomenon in China. So I started to explore the causes. People aged 70 today grown up around 1949, after the establishment of the People’s Republic of China. They have been educated by the different political movements, which our country went through. And they have gone through them all. From then till now, they have been completely brainwashed and became insensitive. That’s the reason of the emptiness of their existence. In the film, I wanted the old lady to realize what is actually going on. That’s how this project became RED AMNESIA.
- ASIAN SHADOWS
- DONGCHUN FILMS
An award-worthy perf fuses together incongruent elements of Wang Xiaoshuai’s involving if fragmented semi-mystery.
the well-acted drama's enigmatic spell creeps up on you as it transitions from portraying an obsolete generation, forgotten by its children, to excavating the complicated history that same generation has chosen to forget
a haunting account of damages endured, inflicted and forgotten
Wang Xiaoshuai, born in Shanghai in 1966, graduated from the Beijing Film Academy. Although his first film, THE DAYS (1993), was awarded 1994 the main prize at the Thessaloniki Film Festival, it was blacklisted by the Chinese authorities, resulting in a strange situation between censorship and success at international festivals: Festival de Cannes (1998, 2003, 2005, 2010), Berlinale (Silver Bear for Beijing Bicycle 2001) and Rotterdam (1995).