Farewell My Concubine (film)

1993 film directed by Chen Kaige

Farewell My Concubine

Theatrical release poster

Chinese name
Traditional Chinese| 霸王別姬
Simplified Chinese| 霸王别姬
Literal meaning| The Hegemon-King Bids Farewell to His Concubine
| Transcriptions

Standard Mandarin
Hanyu Pinyin| Bà Wáng Bié Jī
Directed by| Chen Kaige
Screenplay by| Lu Wei
Lilian Lee
Based on| Farewell My Concubine
by Lilian Lee rewritten from Qiuhaitang (秋海棠) by Qin Shouou (zh:秦瘦鷗)
Produced by| Hsu Feng
Starring|

* Leslie Cheung
* Zhang Fengyi
* Gong Li

Cinematography| Gu Changwe
Edited by| Donovan Shavis
Music by| Zhao Jiping

Production
companies

* Beijing Film Studio
* China Film Co-Production Corporation
* Tomson Films
* Maverick Picture Company

Distributed by| Miramax Films (US)

Release dates

* 1 January 1993 (1993-01-01) (Hong Kong)
* 15 October 1993 (1993-10-15) (United States)

Running time

| 171 minutes
Country| China
Language| Mandarin
Budget| $4 million[1]
Box office| Over $30 million (Worldwide)[2]

Farewell My Concubine is a 1993 Chinese-Hong Kong epic historical drama film directed by Chen Kaige, starring Leslie Cheung, Gong Li and Zhang Fengyi. Adapted for the screen by Lu Wei, based on the novel by Lilian Lee, the film is set in politically tumultuous 20th-century China, from the early days of the Republic of China to the aftermath of the Cultural Revolution. It chronicles the troubled relationships between two lifelong friends, the Peking opera actors Cheng Dieyi (Cheung) and Duan Xiaolou (Zhang), and Xiaolou's wife Juxian (Gong).

The film's themes include identity confusion and blurred lines between real life and the stage, portrayed by the revered opera actor Dieyi, whose unrequited love for Xiaolou persists throughout. The film also addressed themes of political and societal disturbances in 20th-century China, which is typical of Chinese Fifth Generation cinema.

Farewell My Concubine premiered on 1 January 1993, in Hong Kong. Upon release the film received generally positive reviews from contemporary critics, and jointly won the Palme d'Or at the 1993 Cannes Film Festival,[note 1] becoming the first Chinese-language film to achieve the honour. It won further accolades, including a Golden Globe for Best Foreign Language Film and a BAFTA for Best Film Not in the English Language, and received two nominations at the 66th Academy Awards for Best Cinematography and Best Foreign Language Film.

A few weeks after its release in China, the politburo demanded changes to be made to the film due to unconventional depictions of traditional values and political decisions. While allowing a premiere in Beijing, the government objected to the representation of homosexuality, the suicide of a leading character, and a depiction of the turmoil of the 1960s.[3]

The film was approved for further exhibition in September 1993, less than a year after its original release. Upon its re-release it became clear the Chinese censors had made numerous cuts, removing 14 minutes. Chinese officials felt that a re-release, as opposed to maintaining a full ban, would silence an ever-growing international backlash and also help their bid to host the Olympic Games in Beijing in 2000.[4][5]

Farewell My Concubine is considered one of the landmark films of the Fifth Generation movement that brought Chinese film directors to world attention.[6][7] In 2005, the film was selected as one of the "100 Best Films in Global History" by Time magazine.

## Plot

[edit]

A young boy, Douzi, is abandoned by his prostitute mother to a Peking opera troupe supervised by Master Guan. There, Douzi befriends another boy about his age, Shitou.

A teenage Douzi is trained to play dan (female heroine roles), while Shitou learns jing (male hero roles). When practicing the play Dreaming of the World Outside the Nunnery, Douzi misstates the line "I am by nature a girl, not a boy" with "I am by nature a boy, not a girl," for which he receives severe physical punishment. Douzi and another student, Laizi, attempt to run away, but Douzi decides to pursue acting seriously after witnessing an opera performance. Upon returning, they find the whole troupe being punished for their desertion, and Douzi is beaten. As a result, Laizi hangs himself.

An agent who provides funding for opera plays comes to the troupe to seek potential actors. When Douzi repeats the same mistake in front of the agent, Shitou commands him to start over. Douzi finally delivers the entire monologue successfully and secures the agent. The troupe is invited to perform for eunuch Zhang. Shitou and Douzi are brought to Zhang's house where they find a finely crafted sword, which Shitou promises to one day gift to Douzi, as the hero would do for his concubine. Zhang asks to meet Douzi in his room and sexually assaults him. Shitou implicitly knows what happened although Douzi does not speak of the assault. On their way home, Douzi rescues an abandoned baby, who later comes under Master Guan's training.

Memorabilia from the film exhibited at "The Art of Leslie Cheung's Movie Images", April 2013, Hong Kong Central Library.

Years later, Douzi and Shitou have become Peking opera stars, taking the names Cheng Dieyi and Duan Xiaolou, respectively. Their signature performance is the play Farewell My Concubine, where Cheng Dieyi plays Consort Yu and Duan Xiaolou plays the hero Xiang Yu. Their fame attracts the attention of Yuan Shiqing, a reputable person who attends their performances. Yuan Shiqing has come to possess the sword which was once in Eunuch Zhang's house and gifts the sword to Dieyi. The adult Cheng Dieyi is in love with Duan Xiaolou; when Xiaolou marries Juxian, a headstrong courtesan at an upscale brothel, Dieyi and Xiaolou's relationship begins to fall apart. The love triangle between Dieyi, Xiaolou, and Juxian leads to jealousy and betrayal, which is further complicated by the successive political upheavals following the Second Sino-Japanese War. When Master Guan dies, the abandoned baby, now Xiao Si, comes under Dieyi's training to continue learning dan roles.

When the communist forces win the civil war, Xiao Si becomes an avid follower of the new government. Dieyi's addiction to opium negatively affects his performances, but he ultimately rehabilitates with the help of Xiaolou and Juxian. Xiao Si nurtures resentment against Dieyi because of his rigorous teachings and usurps his role in Farewell My Concubine during one performance, without anyone telling Dieyi beforehand. Devastated by the betrayal, Dieyi secludes himself and refuses to reconcile with Xiaolou. As the Cultural Revolution continues, the entire opera troupe is put on a struggle session by the Red Guards where, under pressure, Dieyi and Xiaolou accuse each other of counterrevolutionary acts. Dieyi also tells the guards that Juxian was a prostitute. To protect himself from further prosecution, Xiaolou swears that he does not love her and will "make a clean break" with her. Juxian is heartbroken and returns the sword to Dieyi before committing suicide. Afterward, Xiao Si is caught by the Red Guards when he is singing Consort Yu's lines to the mirror alone in a practice room.

In 1977, Dieyi and Xiaolou reunite, seeming to have mended their relationship. They once again practice Farewell My Concubine. During a break, Xiaolou begins reciting the line "I am by nature a boy," to which Dieyi makes the same mistake of finishing with "I am not a girl." The film ends with both of them finishing the rehearsal, but Dieyi takes Xiaolou's sword and cuts his own throat, paralleling the concubine's final act in the opera.

## Cast

[edit]

Actor | Character

|

Leslie Cheung | Cheng Dieyi (程蝶衣, Pinyin: Chéng Diéyī) / Douzi (小豆子, Pinyin: Xiǎo Dòuzi)
Yin Zhi | Cheng Dieyi (teenager)
Ma Mingwei | Cheng Dieyi (child)
Zhang Fengyi | Duan Xiaolou (段晓楼) / Xiaoshitou (小石头)
Zhao Hailong | Duan Xiaolou (teenager)
Fei Yang | Duan Xiaolou (child)
Gong Li | Juxian (菊仙 Júxiān)
Ge You | Yuan Shiqing (袁世卿 Yuán Shìqīng)
Lü Qi | Master Guan (Simplified: 关师傅, Traditional: 關師傅, Pinyin: Guān Shīfu)
Ying Da | Na Kun (那坤 Nā Kūn)
Yidi | Eunuch Zhang (Simplified: 张公公, Traditional: 張公公, Pinyin: Zhāng Gōnggong)
Zhi Yitong | Saburo Aoki (青木 三郎, Chinese Pinyin: Qīngmù Sānláng, Japanese: Aoki Saburō)
Lei Han | Xiao Si
Li Chun | Xiao Si (teenager)
Li Dan | Laizi (Simplified: 小癞子, Traditional: 小癩子, Pinyin: Xiǎo Làizǐ)
Yang Yongchao | Laizi (child)
Jiang Wenli | Mother of Xiao Douzi
Wu Dai-wai | Red Guard (Simplified: 红卫兵, Traditional: 紅衛兵, Pinyin: Hóngwèibīng)

## Production

[edit]

Chen Kaige was first given a copy of Lilian Lee's novel in 1988, and although Chen found the story of the novel to be "compelling", he found the emotional subtext of the novel "a bit thin". After meeting with Lee, they together recruited Chinese writer Lu Wei for the screenplay, and in 1991, he completed the first draft of the screenplay.[8][9] The director chose the heroic suicide of Dieyi over the original story's banality in order to present the "Lie nu"[clarification needed] image of Dieyi and to accentuate women's liberation which was a big theme in Fifth Generation films.[10]

Jackie Chan was originally considered for the role of Cheng Dieyi, but he declined the offer. John Lone later lobbied for the role but failed to progress past contractual negotiations with producer Hsu Feng.[11]

Hong Kong actor Leslie Cheung was used in the film to attract audiences because melodramas were not a popular genre. It was believed that it was the first film where Cheung spoke Mandarin Chinese. However, for most of the movie Cheung's voice is dubbed by Beijing actor Yang Lixin. Director Chen left Cheung's original voice in two scenes, where Cheung's voice is distorted by physical and mental distress.[12] Due to Gong Li's international stardom, she was cast as one of the main characters in the film.[10]

## Historical background

[edit]

The historical background of the film is multi-layered and complicated, which contributes to the plot and the composition of the film.[13] The 1990s saw the Chinese government trying to improve the country's image after controversial protests[citation needed] that involved students, workers, and foreign government agencies [citation needed]. David Shambaugh writes that the government's new agenda focused on "restoring the appearance of unity in the leadership, ensuring the loyalty of the military, reestablishing social order, reasserting central control over the provinces, recentralizing and retrenching the economy, and redefining China's role in a post-Cold War international environment".[14] In addition to the government's attempts at improving the country's image, by the time of the film's release, the atmosphere toward criticism of Cultural Revolution shifted. As Luo Hui notes "criticizing the Cultural Revolution had become permissible, even fashionable", allowing the film to highlight the devastation in the world of art, as well as other aspects of Chinese society like medicine and education, suffered at the hands of the Cultural Revolution movement.[15]

The film delves deeply into the psychological and emotional complexities of its central characters. Cheng Dieyi is shaped not only by the rigid and grueling training of the Peking Opera, but also by the societal and political forces of his time, which profoundly influence his identity as both an artist and a person. His role as the Concubine blurs the lines between performance and reality, leaving him unable to separate his true self from the character he plays. Roger Ebert noted that Dieyi was “essentially raised by the opera as a homosexual whether or not he consents,” highlighting the film’s exploration of identity as shaped by societal and cultural forces.[16] Farewell My Concubine is both an epic historical drama and an intimate melodrama. Roger Ebert praised the film for its ambitious narrative, noting that it “helped him to feel and imagine what it was like to live in China during those times.” The film also examines the survival of traditional art forms like Peking Opera amidst political turmoil, with the Peking opera presenting as both a cultural foundation and a site of personal conflict. Director Chen Kaige’s personal experiences during the Cultural Revolution, including denouncing his father, informed his vision for the film, adding authenticity to its depiction of the era’s hardships.[17]

## Release

[edit]

### Release in China

[edit]

The film premiered in Shanghai in July 1993 but was removed from theatres after two weeks for further censorial review, and was subsequently banned in August.[18] Because the film won the Palme d'Or at the 1993 Cannes Film Festival, the ban was met with an international outcry.[19] Feeling that there was "no choice" and fearing the ban hurt China's bid for the 2000 Summer Olympics, officials allowed the film to resume public showings in September. This release was censored; scenes dealing with the Cultural Revolution (led by the Chinese Communist Party) and homosexuality were cut, and the final scene was revised to "soften the blow of the suicide".[20]

### Box office and reception

[edit]

The film was released to three theaters on 15 October 1993, and grossed $69,408 in its opening weekend. The film grossed $5,216,888 in the US.[21]

In 2005, some 25,000 Hong Kong film fans voted it their favorite Chinese-language film of the century (the second was Wong Kar-wai's Days of Being Wild).[22]

## International audience

[edit]

The attractiveness of the film for international markets was raised by some critics[who?] who were concerned that the film's visual and artistic settings were too culturally specific.[clarification needed] On the other hand, the film was internationally attractive[citation needed]. The rich political and cultural imagery is presented as a colorful east Asian tableaux that intrigues westererners[citation needed]. China's image is a key feature of the film, and the image of that cultural and political iconography is presented for an international audience[citation needed]. Thus, some critics[who?] charge the filmmakers with playing into stereotypes perpetuated about China.[10]

Some critics point to the fact that Chen had created the film to fit domestic and international audiences' tastes, as Chen understands some of the international audience's perceptions and attitudes about Chinese history and sexuality.[23]

### Miramax edited version

[edit]

At Cannes, the film was awarded the highest prize, the Palme d'Or.[24] Miramax Films mogul Harvey Weinstein purchased distribution rights and removed fourteen minutes, resulting in a 157-minute cut. This is the version seen theatrically in the United States and United Kingdom.

According to Peter Biskind's book, Down and Dirty Pictures: Miramax, Sundance and the Rise of Independent Film, Louis Malle, Cannes jury president that year, said: "The film we admired so much in Cannes is not the film seen in this country [the U.S.], which is twenty minutes shorter – but seems longer because it doesn't make any sense. It was better before those guys made cuts."

The uncut 171-minute version has been released by Miramax on DVD.

### 4K re-release

[edit]

In the fall of 2023, distributor Film Movement released the 4K restoration of the film theatrically in celebration of its 30th anniversary. It was the first time the uncut version was released in North American theaters.[25]

The Criterion Collection later announced a 4K Ultra HD/Blu-ray package for a July 2024 release.[26]

## Music and soundtrack

[edit]

External videos

當愛已成往事 - YouTube
歌唱祖國 - YouTube
中国人民解放军进行曲 - YouTube
大海航行靠舵手 - YouTube
Song Type | Name | composer | lyrics | singer

|
|
|
|

Theme song | Bygone Love | Jonathan Lee | Jonathan Lee | Original Singer: Sandy Lam; Jonathan Lee
MV Director: Xueer Qu

* Leslie Cheung covered the theme song "When Love Has Gone" in 1995.

Episode | Don't get it | Jonathan Lee | Lin Huang | Jonathan Lee
MV Director: Kaige Chen

* "Don't get it" does not appear in this film, but is only included in "Farewell My Concubine Movie Soundtrack".

Episode | Ode to the Motherland | Xin Wang | Xin Wang |
Episode | March of Chinese PLA | Lvchen Zheng | Mu Gong |
Episode | Sailing the Seas Depends on the Helmsman | Shuangyin Wang | Yuwen Li |

## Reception

[edit]

### Critical reception

[edit]

Roger Ebert awarded the film four stars, praising the plot as "almost unbelievably ambitious" and executed with "freedom and energy".[27] The New York Times critic Vincent Canby hailed it for "action, history, exotic color", positively reviewing the acting of Gong Li, Leslie Cheung and Zhang Fengyi.[28] In New York, David Denby criticized the "spectacle" but felt it would excel internationally, portraying a triumph of love and culture through the darkness.[29] Hal Hinson, writing for The Washington Post, highlighted "its swooning infatuation with the theater- with its colors, its vitality and even its cruel rigors".[30] Desson Howe for the same publication was less positive, writing that the first half had impact but gives way to "novel-like meandering", with less point, as the film reaches its conclusion.[31]

The film was included in The New York Times's 2004 list of The Best 1000 Movies Ever Made[32] and Time's 2005 list of Best Movies of All Time.[33] It was ranked No. 97 in Empire magazine's "The 100 Best Films Of World Cinema" in 2010,[34] and No. 1 in Time Out's "100 Best Mainland Chinese Films" feature in 2014.[8] The film has a 90% approval rating on Rotten Tomatoes based on 52 reviews, with an average rating of 7.80/10. The critics consensus reads, "Chen Kaing's epic is grand in scope and presentation, and, bolstered by solid performances, the result is a film both horrifying and enthralling."[35] The BBC placed the film at number 12 on its 2018 list of the 100 greatest foreign language films.[36] It ranked at number 55 on the Hong Kong Film Awards Association (HKFAA)'s list of the Best 100 Chinese-Language Motion Pictures in 2005.[37] The public ranked Farewell My Concubine atop a 2005 poll of the most beloved films in Hong Kong conducted by Handerson ArtReach.[38]

### Year-end lists

[edit]

* 6th – Joan Vadeboncoeur, Syracuse Herald American[39]
* Top 10 (not ranked) – Dennis King, Tulsa World[40]

### Accolades

[edit]

At the Cannes Film Festival, the film shared the Palme d'Or with Jane Campion's The Piano from New Zealand.[31] Farewell My Concubine was the first, and as of 2023, remained the only, Chinese-language film to win the Palme d'Or at Cannes.[41]

Year  | Award  | Category  | Recipient(s)  | Result  | Ref(s)

|
|
|
|
|

1993 | Boston Society of Film Critics | Best Foreign Language Film | Chen Kaige | Won  | [42]
1993  | Camerimage | Silver Frog  | Gu Changwei | Won  | [43]
1993 | Cannes Film Festival | Palme d'Or | Chen Kaige  | Won  | [24]
FIPRESCI Prize | Won
1993 | Los Angeles Film Critics Association | Best Foreign Language Film | Chen Kaige  | Won  | [44]
1993 | National Board of Review | Best Foreign Language Film | Chen Kaige  | Won  | [45]
Top Foreign Language Films  | Won
1993 | New York Film Critics Circle | Best Foreign Language Film | Chen Kaige  | Won  | [46]
Best Supporting Actress | Li Gong | Won
1994 | Academy Awards | Best Foreign Language Film | Chen Kaige  | Nominated  | [47]
Best Cinematography | Gu Changwei  | Nominated
1994 | British Academy Film Awards | Best Film not in the English Language | Hsu Feng, Chen Kaige  | Won  | [48]
1994 | César Awards | Best Foreign Film | Chen Kaige  | Nominated  | [49]
1994 | Golden Globe Awards | Best Foreign Language Film | Chen Kaige  | Won  | [50]
1994 | London Film Critics' Circle | Best Foreign Language Film | Chen Kaige  | Won  | [51]
1994  | Mainichi Film Awards | Best Foreign Language Film  | Chen Kaige  | Won  | [52]

## See also

[edit]

* Cinema of China
* Cinema of Hong Kong
* List of submissions to the 66th Academy Awards for Best Foreign Language Film
* List of Hong Kong submissions for the Academy Award for Best Foreign Language Film

## References

[edit]

### Notes

[edit]

1. ^ Shared with The Piano

### Citations

[edit]

1. ^ Elley, Derek (20 May 1993). "Farewell to My Concubine". Variety. Retrieved 8 July 2024.
2. ^ The Hollywood Reporter. Wilkerson Daily Corporation. 1994.
3. ^ Kristof, Nicholas D. (4 August 1993). "China Bans One of Its Own Films; Cannes Festival Gave It Top Prize". The New York Times. ISSN 0362-4331. Retrieved 2 April 2022.
4. ^ "Who Makes the Rules in Chinese Movies?". The New York Times. 16 October 1993. Retrieved 2 December 2019.
5. ^ "China bids 'Farewell' to ban". Variety. 3 September 1993. Retrieved 2 December 2019.
6. ^ Clark 2005, p. 159.
7. ^ Zha 1995, pp. 96–100.
8. ^ a b "100 best Chinese Mainland Films: the countdown". Time Out. Archived from the original on 3 December 2019. Retrieved 5 April 2014.
9. ^ Braester 2010, p. 335.
10. ^ a b c Lau, Jenny Kwok Wah (1995). ""Farewell My Concubine": History, Melodrama, and Ideology in Contemporary Pan-Chinese Cinema". Film Quarterly. 49 (1): 16–27\. doi:10.1525/fq.1995.49.1.04a00030. ISSN 0015-1386. JSTOR 1213489.
11. ^ "Cheung, the concubine, tiptoes past the censors". South China Morning Post. 1 January 1993. Retrieved 19 August 2021.
12. ^ Wang, Yiman (2013). Remaking Chinese cinema: through the prism of Shanghai, Hong Kong, and Hollywood. University of Hawaiʻi Press. ISBN 978-0-8248-7117-8. OCLC 986628712.
13. ^ Ying, Liang. "Making the Familiar Strange and the Strange Familiar-Farewell, My Concubine and Its Crossing National Borders". US-China Foreign Language. 9: 530–538.
14. ^ Shambaugh, David (1 January 1991). "China in 1990: The Year of Damage Control". Asian Survey. 31 (1): 36–49\. doi:10.2307/2645183. ISSN 0004-4687. JSTOR 2645183.
15. ^ Hui, Luo. (2007). "Theatricality and Cultural Critique in Chinese Cinema". Asian Theatre Journal. 25 (1): 122–137\. doi:10.1353/atj.2008.0010. ISSN 1527-2109. S2CID 163055431.
16. ^ Ebert, Roger. Farewell My Concubine. RogerEbert.com, 29 Oct. 1993, https://www.rogerebert.com/reviews/farewell-my-concubine-1993.
17. ^ Ebert, Roger. Farewell My Concubine. RogerEbert.com, 29 Oct. 1993,https://www.rogerebert.com/reviews/farewell-my-concubine-1993.
18. ^ Chen, Pauline. "Farewell My Concubine: All the World's a Stage". The Criterion Collection. Retrieved 10 December 2024.
19. ^ Kristof, Nicholas D. (4 August 1993). "China Bans One of Its Own Films; Cannes Festival Gave It Top Prize". The New York Times. ISSN 0362-4331. Retrieved 14 June 2017.
20. ^ Tyler, Patrick E. (4 September 1993). "China's Censors Issue a Warning". The New York Times. ISSN 0362-4331. Retrieved 14 June 2017.
21. ^ "Farewell My Concubine (1993)". Box Office Mojo. 2 November 1993. Retrieved 3 February 2016.
22. ^ "爱白网". Aibai.com. 28 May 2005. Archived from the original on 3 March 2016. Retrieved 3 February 2016.
23. ^ Ying, Liang (August 2011). "Making the Familiar Strange and the Strange Familiar-Farewell, My Concubine and Its Crossing National Borders". US-China Foreign Language. 9: 530–538.
24. ^ a b "Farewell My Concubine (1993) - Awards". Movies & TV Dept. The New York Times. 2015. Archived from the original on 2 April 2015.
25. ^ "Theatrical: Farewell My Concubine :: Film Movement". www.filmmovement.com. Retrieved 19 April 2024.
26. ^ "Farewell My Concubine". The Criterion Collection. Retrieved 18 April 2024.
27. ^ Ebert, Roger (29 October 1993). "Farewell My Concubine". Rogerebert.com. Retrieved 26 June 2017.
28. ^ Canby, Vincent (8 October 1993). "Review/Film Festival; Action, History, Politics And Love Above All". The New York Times. Retrieved 26 June 2017.
29. ^ Denby, David (25 October 1993). "A Half-Century at the Opera". New York. p. 84.
30. ^ Hinson, Hal (27 October 1993). "Farewell My Concubine". The Washington Post. Retrieved 26 June 2017.
31. ^ a b Howe, Desson (29 October 1993). "Farewell My Concubine". The Washington Post. Retrieved 26 June 2017.
32. ^ "The Best 1,000 Movies Ever Made". The New York Times. Retrieved 14 March 2016.
33. ^ "Full List". Time. 12 February 2005. Retrieved 14 March 2016.
34. ^ "The 100 Best Films Of World Cinema – 97. Farewell My Concubine". Empire. 11 June 2010.
35. ^ "Farewell My Concubine (Ba wang bie ji) (1993)". Rotten Tomatoes. Retrieved 29 July 2024.
36. ^ "The 100 greatest foreign-language films". BBC. 30 October 2018. Retrieved 6 November 2019.
37. ^ "Best 100 Chinese-Language Motion Pictures" (in Chinese). Hong Kong Film Awards Association. Archived from the original on 22 October 2019. Retrieved 6 November 2019.
38. ^ "'Farewell My Concubine' most appreciated in HK". China Daily. 27 May 2005. Retrieved 6 November 2019.
39. ^ Vadeboncoeur, Joan (8 January 1995). "Critically Acclaimed Best Movies of '94 Include Works from Tarantino, Burton, Demme, Redford, Disney and Speilberg". Syracuse Herald American (Final ed.). p. 16.
40. ^ King, Dennis (25 December 1994). "SCREEN SAVERS In a Year of Faulty Epics, The Oddest Little Movies Made The Biggest Impact". Tulsa World (Final Home ed.). p. E1.
41. ^ Blair, Gavin J. (27 August 2013). "'Farewell My Concubine' Director Chen Kaige to Head Tokyo Film Fest Jury". The Hollywood Reporter. Retrieved 14 August 2023.
42. ^ "Past Award Winners". Boston Society of Film Critics. Archived from the original on 4 February 2012. Retrieved 26 June 2017.
43. ^ "Camerimage 1993". Camerimage. Archived from the original on 22 April 2017. Retrieved 26 June 2017.
44. ^ "19TH ANNUAL LOS ANGELES FILM CRITICS ASSOCIATION AWARDS". Los Angeles Film Critics Association. Archived from the original on 4 March 2016. Retrieved 26 June 2017.
45. ^ "1993 Award Winners". National Board of Review. Retrieved 26 June 2017.
46. ^ Matthews, Jack (16 December 1993). "N.Y. Writers Pick 'List' but Bypass Spielberg : Movies: Film Critics Circle echoes its L.A. counterpart by naming 'Schindler's List' the best work of 1993 and 'The Piano's' Jane Campion best director". Los Angeles Times. Retrieved 26 June 2017.
47. ^ "The 66th Academy Awards". Academy of Motion Picture Arts and Sciences. 4 October 2014. Retrieved 26 June 2017.
48. ^ "Film in 1994". British Academy of Film and Television Arts. Retrieved 26 June 2017.
49. ^ "PALMARÈS 1994 - 19 ÈME CÉRÉMONIE DES CÉSAR". Académie des Arts et Techniques du Cinéma. Archived from the original on 19 March 2016. Retrieved 26 June 2017.
50. ^ "Farewell My Concubine". Hollywood Foreign Press Association. Retrieved 26 June 2017.
51. ^ Leung 2010, p. ix.
52. ^ "49TH (1994)". Mainichi Film Awards. Retrieved 26 June 2017.

## Further reading

[edit]

* Braester, Yomi (17 March 2010). Painting the City Red: Chinese Cinema and the Urban Contract. Rey Chow, Harry Harootunian, Masao Miyoshi. Durham [NC]: Duke University Press. p. 335\. ISBN 9780822392750. Retrieved 3 February 2016 - via Google Books.
* Clark, Paul (2005). Reinventing China: A Generation and Its Films. Hong Kong: The Chinese University Press.
* Braester, Yomi. Farewell My Concubine: National Myth and City Memories. In Chinese Films in Focus: 25 New Takes, edited by Chris Berry, 89–96. London: British Film Institute, 2003.
* Leung, Helen Hok-Sze (2010). Farewell My Concubine: A Queer Film Classic (Large Print 16pt). Vancouver: Read How You Want, Arsenal Pulp Press. ISBN 978-1459608368.
* Kaplan, Ann. Reading Formations and Chen Kaige's Farewell My Concubine. In Sheldon Lu, ed., Transnational Chinese Cinema: Identity, Nationhood, Gender. Honolulu: University of Hawaiʻi Press, 1997.
* Larson, Wendy. The Concubine and the Figure of History: Chen Kaige's Farewell My Concubine. In Sheldon Lu, ed., Transnational Chinese Cinema: Identity, Nationhood, Gender. Honolulu: University of Hawaiʻi Press, 1997; also published as Bawang bieji: Ji yu lishi xingxiang, Qingxiang (1997); also in Harry Kuoshu, ed., Chinese Film, ed. Bloomington: Indiana University Press, 2000.
* Lau, Jenny Kwok Wah. Farewell My Concubine': History, Melodrama, and Ideology in Contemporary Pan-Chinese Cinema. Film Quarterly 49, 1 (Fall, 1995).
* Lim, Song Hwee. The Uses of Femininity: Chen Kaige's Farewell My Concubine and Zhang Yuan's East Palace, West Palace. In Lim, Celluloid Comrades: Representations of Male Homosexuality in Contemporary Chinese Cinemas. Honolulu: University of Hawaiʻi, 2006, pages 69–98.
* Lu, Sheldon Hsiao-peng. "National Cinema, Cultural Critique, Transnational Capital: The Films of Zhang Yimou." In Transnational Chinese Cinema, edited by Sheldon Lu, 105–39. Honolulu: University of Hawaiʻi Press, page 199.
* McDougall, Bonnie S. "Cross-dressing and the Disappearing Woman in Modern Chinese Fiction, Drama and Film: Reflections on Chen Kaige's Farewell My Concubine." China Information 8, 4 (Summer 1994): pages 42–51.
* Metzger, Sean. "Farewell My Fantasy." The Journal of Homosexuality 39, 3/4 (2000): pages 213–32. Rpt. in Andrew Grossman, ed. Queer Asian Cinema: Shadows in the Shade. New York: Harrington Press, 2000, pages 213–232.
* Xu, Ben. "Farewell My Concubine and Its Western and Chinese Viewers." Quarterly Review of Film and Television 16, 2 (1997).
* Zha, Jianying (1995). China Pop : How Soap Operas, Tabloids, and Bestsellers Are Transforming a Culture. New York: The New Press, W.W. Norton. ISBN 9781565842496.
* Zhang, Benzi. "Figures of Violence and Tropes of Homophobia: Reading Farewell My Concubine between East and West." Journal of Popular Culture: Comparative Studies in the World's Civilizations 33, 2 (1999): pages 101–109.

## External links

[edit]

Wikimedia Commons has media related to Farewell My Concubine (film).

* Farewell My Concubine at IMDb
* Farewell My Concubine at Box Office Mojo
* Farewell My Concubine at Rotten Tomatoes
* A film review with emphasis on the relationship between the play and the film Archived 4 March 2016 at the Wayback Machine

* v
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* e

Films directed by Chen Kaige

* Yellow Earth (1984)
* The Big Parade (1986)
* King of the Children (1987)
* Life on a String (1991)
* Farewell My Concubine (1992)
* Temptress Moon (1996)
* The Emperor and the Assassin (1998)
* Killing Me Softly (2002)
* Together (2002)
* The Promise (2005)
* Forever Enthralled (2008)
* Sacrifice (2010)
* Caught in the Web (2012)
* Monk Comes Down the Mountain (2015)
* Legend of the Demon Cat (2017)
* My People, My Country (2019)
* The Battle at Lake Changjin (2021)
* The Battle at Lake Changjin II (2022)
* The Volunteers: To the War (2023)

Awards for Farewell My Concubine

* v
* t
* e

BAFTA Award for Best Film Not in the English Language

Best Foreign
Language Film
1982-1987|

* Christ Stopped at Eboli (1982)
* Danton (1983)
* Carmen (1984)
* Colonel Redl (1985)
* Ran (1986)
* The Sacrifice (1987)

Best Film Not in the
English Language
1988-present|

* Babette's Feast (1988)
* Life and Nothing But (1989)
* Cinema Paradiso (1990)
* The Nasty Girl (1991)
* Raise the Red Lantern (1992)
* Farewell My Concubine (1993)
* To Live (1994)
* Il Postino: The Postman (1995)
* Ridicule (1996)
* The Apartment (1997)
* Central Station (1998)
* All About My Mother (1999)
* Crouching Tiger, Hidden Dragon (2000)
* Amores perros (2001)
* Talk to Her (2002)
* In This World (2003)
* The Motorcycle Diaries (2004)
* The Beat That My Heart Skipped (2005)
* Pan's Labyrinth (2006)
* The Lives of Others (2007)
* I've Loved You So Long (2008)
* A Prophet (2009)
* The Girl with the Dragon Tattoo (2010)
* The Skin I Live In (2011)
* Amour (2012)
* The Great Beauty (2013)
* Ida (2014)
* Wild Tales (2015)
* Son of Saul (2016)
* The Handmaiden (2017)
* Roma (2018)
* Parasite (2019)
* Another Round (2020)
* Drive My Car (2021)
* All Quiet on the Western Front (2022)
* The Zone of Interest (2023)
* Emilia Pérez (2024)

* v
* t
* e

Boston Society of Film Critics Award for Best Non-English Language Film

* Mr. Hire (1990)
* Europa Europa (1991)
* No Award (1992)
* Farewell My Concubine (1993)
* Three Colours: Red (1994)
* Mina Tannenbaum (1995)
* My Favorite Season (1996)
* Underground (1997)
* Taste of Cherry (1998)
* All About My Mother (1999)
* Crouching Tiger, Hidden Dragon (2000)
* Love's a Bitch (2001)
* And Your Mother Too (2002)
* The Triplets of Belleville (2003)
* House of Flying Daggers (2004)
* Kung Fu Hustle (2005)
* Pan's Labyrinth (2006)
* The Diving Bell and the Butterfly (2007)
* Let the Right One In (2008)
* Summer Hours (2009)
* Mother (2010)
* Incendies (2011)
* Amour (2012)
* The Great Beauty (2013)
* Two Days, One Night (2014)
* The Look of Silence (2015)
* The Handmaiden (2016)
* The Square (2017)
* Shoplifters (2018)
* Parasite (2019)
* La Llorona (2020)
* The Zone of Interest (2023)
* Do Not Expect Too Much from the End of the World (2024)

* v
* t
* e

Cannes Film Festival Palme d'Or

1939–1975|

* Union Pacific (1939)
* No festival held (1940–1945)
* Brief Encounter (1946)
* The Last Chance (1946)
* The Lost Weekend (1946)
* María Candelaria (1946)
* Men Without Wings (1946)
* Neecha Nagar (1946)
* Pastoral Symphony (1946)
* The Red Meadows (1946)
* Rome, Open City (1946)
* Torment (1946)
* The Turning Point (1946)
* Antoine and Antoinette (1947)
* Crossfire (1947)
* The Damned (1947)
* Dumbo (1947)
* Ziegfeld Follies (1947)
* No festival held (1948)
* The Third Man (1949)
* No festival held (1950)
* Miracle in Milan (1951)
* Miss Julie (1951)
* Othello (1951)
* Two Cents Worth of Hope (1952)
* The Wages of Fear (1953)
* Gate of Hell (1954)
* Marty (1955)
* The Silent World (1956)
* Friendly Persuasion (1957)
* The Cranes Are Flying (1958)
* Black Orpheus (1959)
* La Dolce Vita (1960)
* The Long Absence (1961)
* Viridiana (1961)
* O Pagador de Promessas (1962)
* The Leopard (1963)
* The Umbrellas of Cherbourg (1964)
* The Knack ...and How to Get It (1965)
* The Birds, the Bees and the Italians (1966)
* A Man and a Woman (1966)
* Blowup (1967)
* Festival cancelled while in progress (1968)
* if.... (1969)
* M*A*S*H (1970)
* The Go-Between (1971)
* The Mattei Affair (1972)
* The Working Class Goes to Heaven (1972)
* The Hireling (1973)
* Scarecrow (1973)
* The Conversation (1974)
* Chronicle of the Years of Fire (1975)

1976–2000|

* Taxi Driver (1976)
* Padre Padrone (1977)
* The Tree of Wooden Clogs (1978)
* Apocalypse Now (1979)
* The Tin Drum (1979)
* All That Jazz (1980)
* Kagemusha (1980)
* Man of Iron (1981)
* Missing (1982)
* Yol (1982)
* The Ballad of Narayama (1983)
* Paris, Texas (1984)
* When Father Was Away on Business (1985)
* The Mission (1986)
* Under the Sun of Satan (1987)
* Pelle the Conqueror (1988)
* Sex, Lies, and Videotape (1989)
* Wild at Heart (1990)
* Barton Fink (1991)
* The Best Intentions (1992)
* Farewell My Concubine (1993)
* The Piano (1993)
* Pulp Fiction (1994)
* Underground (1995)
* Secrets & Lies (1996)
* The Eel (1997)
* Taste of Cherry (1997)
* Eternity and a Day (1998)
* Rosetta (1999)
* Dancer in the Dark (2000)

2001–present|

* The Son's Room (2001)
* The Pianist (2002)
* Elephant (2003)
* Fahrenheit 9/11 (2004)
* L'Enfant (2005)
* The Wind That Shakes the Barley (2006)
* 4 Months, 3 Weeks and 2 Days (2007)
* The Class (2008)
* The White Ribbon (2009)
* Uncle Boonmee Who Can Recall His Past Lives (2010)
* The Tree of Life (2011)
* Amour (2012)
* Blue Is the Warmest Colour (2013)
* Winter Sleep (2014)
* Dheepan (2015)
* I, Daniel Blake (2016)
* The Square (2017)
* Shoplifters (2018)
* Parasite (2019)
* No festival held (2020)
* Titane (2021)
* Triangle of Sadness (2022)
* Anatomy of a Fall (2023)
* Anora (2024)

* v
* t
* e

Dallas–Fort Worth Film Critics Association Award for Best Foreign Language Film

1990s|

* Cinema Paradiso (1990)
* The Double Life of Veronique (1991)
* Indochine (1992)
* Farewell My Concubine (1993)
* Three Colours: Red (1994)
* Les Misérables (1995)
* Prisoner of the Mountains (1996)
* Character (1997)
* Life Is Beautiful (1998)
* Run Lola Run (1999)

2000s|

* Crouching Tiger, Hidden Dragon (2000)
* Amélie (2001)
* And Your Mother Too (2002)
* City of God (2003)
* A Very Long Engagement (2004)
* Paradise Now (2005)
* Letters from Iwo Jima (2006)
* The Diving Bell and the Butterfly (2007)
* Tell No One (2008)
* Sin nombre (2009)

2010s|

* Biutiful (2010)
* A Separation (2011)
* Amour (2012)
* Blue Is the Warmest Colour (2013)
* Force Majeure (2014)
* Son of Saul (2015)
* The Handmaiden (2016)
* The Square (2017)
* Roma (2018)
* Parasite (2019)

2020s|

* Minari (2020)
* Drive My Car (2021)
* Decision to Leave (2022)
* Anatomy of a Fall (2023)
* The Seed of the Sacred Fig (2024)

* v
* t
* e

Golden Globe Award for Best Foreign Language Film

Foreign Film – Foreign Language
1949–1972|

* Bicycle Thieves (1949)
* Genevieve / The Lady of the Camelias / No Way Back / Twenty-Four Eyes (1954)
* Children, Mother, and the General / Dangerous Curves / Eyes of Children / Ordet / Stella (1955)
* Before Sundown / A Girl in Black / Roses on the Arm / War and Peace / The White Reindeer (1956)
* Confessions of Felix Krull / Tizoc / Yellow Crow (1957)
* Girl and the River / The Road a Year Long / Rosemary (1958)
* Aren't We Wonderful? / Black Orpheus / The Bridge / Odd Obsession / Wild Strawberries (1959)
* The Truth / The Virgin Spring (1960)
* Two Women (1961)
* Divorce Italian Style (1962)
* Any Number Can Win (1963)
* Marriage Italian Style (1964)
* Juliet of the Spirits (1965)
* A Man and a Woman (1966)
* Live for Life (1967)
* War and Peace (1968)
* Z (1969)
* Rider on the Rain (1970)
* The Policeman (1971)
* The Emigrants / The New Land (1972)

Foreign Film
1973–1985|

* The Pedestrian (1973)
* Scenes from a Marriage (1974)
* Lies My Father Told Me (1975)
* Face to Face (1976)
* A Special Day (1977)
* Autumn Sonata (1978)
* La Cage aux Folles (1979)
* Tess (1980)
* Chariots of Fire (1981)
* Gandhi (1982)
* Fanny and Alexander (1983)
* A Passage to India (1984)
* The Official Story (1985)

Foreign Language Film
1986–2020|

* The Assault (1986)
* My Life as a Dog (1987)
* Pelle the Conqueror (1988)
* Cinema Paradiso (1989)
* Cyrano de Bergerac (1990)
* Europa Europa (1991)
* Indochine (1992)
* Farewell My Concubine (1993)
* Farinelli (1994)
* Les Misérables (1995)
* Kolya (1996)
* Ma vie en rose (1997)
* Central Station (1998)
* All About My Mother (1999)
* Crouching Tiger, Hidden Dragon (2000)
* No Man's Land (2001)
* Talk to Her (2002)
* Osama (2003)
* The Sea Inside (2004)
* Paradise Now (2005)
* Letters from Iwo Jima (2006)
* The Diving Bell and the Butterfly (2007)
* Waltz with Bashir (2008)
* The White Ribbon (2009)
* In a Better World (2010)
* A Separation (2011)
* Amour (2012)
* The Great Beauty (2013)
* Leviathan (2014)
* Son of Saul (2015)
* Elle (2016)
* In the Fade (2017)
* Roma (2018)
* Parasite (2019)
* Minari (2020)

Non-English Language Film
2021–present|

* Drive My Car (2021)
* Argentina, 1985 (2022)
* Anatomy of a Fall (2023)
* Emilia Pérez (2024)

* v
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* e

London Film Critics' Circle Foreign Language Film of the Year

1980–2000|

* The Marriage of Maria Braun and Angi Vera (1980)
* Man of Iron (1981)
* Mephisto (1982)
* Yol (1983)
* A Sunday in the Country (1984)
* Heimat: A Chronicle of Germany (1985)
* Ran (1986)
* Jean de Florette (1987)
* Babette's Feast (1988)
* Au revoir les enfants (1989)
* Cinema Paradiso (1990)
* Cyrano de Bergerac (1991)
* Raise the Red Lantern (1992)
* A Heart in Winter (1993)
* Farewell My Concubine (1994)
* Il Postino: The Postman (1995)
* Les Misérables (1996)
* Ridicule (1997)
* Shall We Dance? (1998)
* All About My Mother (1999)
* Crouching Tiger, Hidden Dragon (2000)

2001–present|

* Amélie (2001)
* Y Tu Mamá También (2002)
* Good Bye, Lenin! (2003)
* The Motorcycle Diaries (2004)
* Downfall (2005)
* Volver (2006)
* The Lives of Others (2007)
* No Award (2008)
* Let the Right One In (2009)
* Of Gods and Men (2010)
* A Separation (2011)
* Rust and Bone (2012)
* Blue Is the Warmest Colour (2013)
* Leviathan (2014)
* The Look of Silence (2015)
* Toni Erdmann (2016)
* Elle (2017)
* Cold War (2018)
* Portrait of a Lady on Fire (2019)
* Another Round (2020)
* Drive My Car (2021)
* Decision to Leave / The Quiet Girl (2022)
* Past Lives (2023)
* All We Imagine as Light (2024)

* v
* t
* e

Los Angeles Film Critics Association Award for Best Foreign Language Film

1975–2000|

* And Now My Love (1975)
* Face to Face (1976)
* That Obscure Object of Desire (1977)
* Madame Rosa (1978)
* Soldier of Orange (1979)
* No Award (1980)
* The Tin Drum (1981)
* Pixote (1982)
* Mad Max 2 (1983)
* Fanny and Alexander / The Fourth Man (1984)
* The Official Story / Ran (1985)
* Vagabond (1986)
* Goodbye, Children (1987)
* Wings of Desire (1988)
* Distant Voices, Still Lives / Story of Women (1989)
* Life and Nothing But (1990)
* The Beautiful Troublemaker (1991)
* The Crying Game (1992)
* Farewell My Concubine (1993)
* Three Colours: Red (1994)
* Wild Reeds (1995)
* A Judgement in Stone (1996)
* The Promise (1997)
* The Celebration (1998)
* All About My Mother (1999)
* Yi Yi (2000)

2001–present|

* No Man's Land (2001)
* And Your Mother Too (2002)
* The Man on the Train (2003)
* House of Flying Daggers (2004)
* Hidden (2005)
* The Lives of Others (2006)
* 4 Months, 3 Weeks and 2 Days (2007)
* Still Life (2008)
* Summer Hours (2009)
* Carlos (2010)
* City of Life and Death (2011)
* Holy Motors (2012)
* Blue Is the Warmest Colour (2013)
* Ida (2014)
* Son of Saul (2015)
* The Handmaiden (2016)
* BPM (Beats per Minute) / Loveless (2017)
* Burning / Shoplifters (2018)
* Pain and Glory (2019)
* Beanpole (2020)
* Petite Maman (2021)
* EO (2022)
* Anatomy of a Fall (2023)
* All We Imagine as Light (2024)

* v
* t
* e

Mainichi Film Award for Foreign Film Best One Award

* Sophie's Choice (1983)
* The Dresser (1984)
* A Sunday in the Country (1985)
* The Purple Rose of Cairo (1986)
* The Trip to Bountiful (1987)
* Hope and Glory (1988)
* Cinema Paradiso (1989)
* A City of Sadness (1990)
* Dances With Wolves (1991)
* JFK (1992)
* Unforgiven (1993)
* Farewell My Concubine (1994)
* The Shawshank Redemption (1995)
* Ulysses' Gaze (1996)
* The English Patient (1997)
* L.A. Confidential (1998)
* Shakespeare in Love (1999)
* Space Cowboys (2000)
* Postmen in the Mountains (2001)
* Devils on the Doorstep (2002)
* The Pianist (2003)
* Mystic River (2004)
* Flags of Our Fathers (2006)
* Still Life (2007)
* The Dark Knight (2008)
* Gran Torino (2009)
* Breathless (2010)
* The King's Speech (2011)
* Hugo (2012)
* Amour (2013)
* Boyhood (2014)
* Birdman (2015)
* Sully (2016)
* I, Daniel Blake (2017)
* Three Billboards Outside Ebbing, Missouri (2018)
* Joker (2019)
* Parasite (2020)
* Nomadland (2021)
* Belfast (2022)
* Tár (2023)
* Oppenheimer (2024)

* v
* t
* e

National Board of Review Award for Best International Film

1934–1950|

* Man of Aran (1934)
* No Award (1935)
* Carnival in Flanders (1936)
* The Eternal Mask (1937)
* La Grande Illusion (1938)
* Port of Shadows (1939)
* The Baker's Wife (1940)
* Pépé le Moko (1941)
* No Award (1942–1949)
* The Titan (1950)

1951–1975|

* Rashomon (1951)
* The Sound Barrier (1952)
* A Queen Is Crowned (1953)
* Romeo and Juliet (1954)
* The Prisoner (1955)
* The Silent World (1956)
* Ordet (1957)
* Pather Panchali (1958)
* Wild Strawberries (1959)
* The World of Apu (1960)
* Die Brücke (1961)
* Sundays and Cybèle (1962)
* 8½ (1963)
* World Without Sun (1964)
* Juliet of the Spirits (1965)
* The Sleeping Car Murders (1966)
* Elvira Madigan (1967)
* War and Peace (1968)
* Shame (1969)
* The Wild Child (1970)
* Claire's Knee (1971)
* The Sorrow and the Pity (1972)
* Cries and Whispers (1973)
* Amarcord (1974)
* The Story of Adele H. (1975)

1976–2000|

* The Marquise of O (1976)
* That Obscure Object of Desire (1977)
* Autumn Sonata (1978)
* La Cage aux Folles (1979)
* The Tin Drum (1980)
* A Few Days from the Life of I. I. Oblomov (1981)
* Mephisto (1982)
* Fanny and Alexander (1983)
* A Sunday in the Country (1984)
* Ran (1985)
* Otello (1986)
* Jean de Florette / Manon des Sources (1987)
* Women on the Verge of a Nervous Breakdown (1988)
* Story of Women (1989)
* Cyrano de Bergerac (1990)
* Europa Europa (1991)
* Indochine (1992)
* Farewell My Concubine (1993)
* Eat Drink Man Woman (1994)
* Shanghai Triad (1995)
* Ridicule (1996)
* Shall We Dance? (1997)
* Central Station (1998)
* All About My Mother (1999)
* Crouching Tiger, Hidden Dragon (2000)

2001–present|

* Amores perros (2001)
* Talk to Her (2002)
* The Barbarian Invasions (2003)
* The Sea Inside (2004)
* Paradise Now (2005)
* Volver (2006)
* The Diving Bell and the Butterfly (2007)
* Mongol (2008)
* A Prophet (2009)
* Of Gods and Men (2010)
* A Separation (2011)
* Amour (2012)
* The Past (2013)
* Wild Tales (2014)
* Son of Saul (2015)
* The Salesman (2016)
* Foxtrot (2017)
* Cold War (2018)
* Parasite (2019)
* La Llorona (2020)
* A Hero (2021)
* Close (2022)
* Anatomy of a Fall (2023)
* The Seed of the Sacred Fig (2024)

* v
* t
* e

New York Film Critics Circle Award for Best International Film

1937–1968|

* Mayerling (1937)
* Grand Illusion (1938)
* Harvest (1939)
* The Baker's Wife (1940)
* No Award (1941–1945)
* Rome, Open City (1946)
* To Live in Peace (1947)
* Paisan (1948)
* Bicycle Thieves (1949)
* L'amore (1950)
* Miracle in Milan (1951)
* Forbidden Games (1952)
* Justice Is Done (1953)
* Gate of Hell (1954)
* Umberto D. (1955)
* The Road (1956)
* Gervaise (1957)
* My Uncle (1958)
* The 400 Blows (1959)
* Hiroshima My Love (1960)
* The Sweet Life (1961)
* No Award (1962)
* 8½ (1963)
* That Man from Rio (1964)
* Juliet of the Spirits (1965)
* The Shop on Main Street (1966)
* The War Is Over (1967)
* War and Peace (1968)
* No Award (1969–1977)

1978–2000|

* Bread and Chocolate (1978)
* The Tree of Wooden Clogs (1979)
* My American Uncle (1980)
* Pixote (1981)
* Time Stands Still (1982)
* Fanny and Alexander (1983)
* A Sunday in the Country (1984)
* Ran (1985)
* The Decline of the American Empire (1986)
* My Life as a Dog (1987)
* Women on the Verge of a Nervous Breakdown (1988)
* Story of Women (1989)
* The Nasty Girl (1990)
* Europa Europa (1991)
* Raise the Red Lantern (1992)
* Farewell My Concubine (1993)
* Three Colours: Red (1994)
* Wild Reeds (1995)
* The White Balloon (1996)
* Ponette (1997)
* The Celebration (1998)
* All About My Mother (1999)
* Yi Yi (2000)

2001–present|

* In the Mood for Love (2001)
* And Your Mother Too (2002)
* City of God (2003)
* Bad Education (2004)
* 2046 (2005)
* Army of Shadows (2006)
* The Lives of Others (2007)
* 4 Months, 3 Weeks and 2 Days (2008)
* Summer Hours (2009)
* Carlos (2010)
* A Separation (2011)
* Amour (2012)
* Blue Is the Warmest Colour (2013)
* Ida (2014)
* Timbuktu (2015)
* Toni Erdmann (2016)
* BPM (Beats per Minute) (2017)
* Cold War (2018)
* Parasite (2019)
* Bacurau (2020)
* The Worst Person in the World (2021)
* EO (2022)
* Anatomy of a Fall (2023)
* All We Imagine as Light (2024)

* v
* t
* e

The Fifth Generation

Beijing Film Academy:
Class of 1982|

* Chen Kaige (director)
* Gu Changwei (cinematographer/director)
* He Qun (art director/director)
* Hou Yong (cinematographer/director)
* Hu Mei (director)
* Li Shaohong (director)
* Liu Miaomiao (director)
* Lü Yue (cinematographer/director)
* Ning Ying (director)
* Peng Xiaolian (director)
* Tian Zhuangzhuang (director)
* Wu Ziniu (director)
* Xia Gang (director)
* Xie Xiaojing (director)
* Zhang Jianya (director)
* Zhang Junzhao (director)
* Zhang Yimou (cinematographer/director)
* Zhao Fei (cinematographer)

Associated figures|

* He Ping (director)
* Huang Jianxin (director)
* Sun Zhou (director)
* Zhang Zeming (director)
* Zhou Xiaowen (director)
* Wu Tianming (producer)

Major works|

* Our Corner (1980)
* One and Eight (1983)
* Yellow Earth (1984)
* The Horse Thief (1985)
* The Black Cannon Incident (1985)
* Red Sorghum (1987)
* Evening Bell (1988)
* Ju Dou (1990)
* Raise the Red Lantern (1991)
* Farewell My Concubine (1993)
* The Blue Kite (1993)
* Ermo (1994)

* v
* t
* e

Hong Kong submissions for the Academy Award for Best International Feature Film

1959–2000|

* For Better, for Worse (1959)
* The Enchanting Shadow (1960)
* The Love Eterne (1963)
* Between Tears and Laughter (1964)
* Come Drink with Me (1966)
* The Arch (1969)
* The Last Tempest 1976)
* Raining in the Mountain (1979)
* Homecoming (1984)
* Painted Faces (1989)
* Eight Taels of Gold (1990)
* Raise the Red Lantern (1991)
* Farewell My Concubine (1993)
* The Day the Sun Turned Cold (1994)
* Summer Snow (1995)
* Hu-Du-Men (1996)
* Made in Hong Kong (1998)
* Ordinary Heroes (1999)
* In the Mood for Love (2000)

2001–present|

* Fulltime Killer (2001)
* The Touch (2002)
* Infernal Affairs (2003)
* Running on Karma (2004)
* Perhaps Love (2005)
* The Banquet (2006)
* Exiled (2007)
* Painted Skin (2008)
* Prince of Tears (2009)
* Echoes of the Rainbow (2010)
* A Simple Life (2011)
* Life Without Principle (2012)
* The Grandmaster (2013)
* The Golden Era (2014)
* To the Fore (2015)
* Port of Call (2016)
* Mad World (2017)
* Operation Red Sea (2018)
* The White Storm 2: Drug Lords (2019)
* Better Days (2020)
* Zero to Hero (2021)
* Where the Wind Blows (2022)
* A Light Never Goes Out (2023)
* Twilight of the Warriors: Walled In (2024)

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* China
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