Gong Li

Lu (Chen Daoming) and Feng (Gong Li) are a devoted couple to separate when Lu is arrested and sent to a labor camp as a political prisoner during the Cultural Revolution. When Lu is released years later, he returns home to find his beloved wife his amnesia and remembers little of her past. Unable to recognize him, she still patiently awaits her husbands return. A stranger within his own family, Lu is determined to awaken his wife's memory through gentle displays of unconditional and eternal love.

Not even close to his best work, Chinese filmmaker Zhang Yimou--far from a favorite of Chinese authorities, and frequently harassed and stymied in his career--creates an impressive-looking period piece in this gangland story set in the 1930s. Gong Li (Raise the Red Lantern) gives a colorful performance as a nightclub diva who is the mistress of a mob boss. Told from the point of view of a boy (Wang Xiaoxiao) sent by the gangster to wait on the arrogant singer, the story follows these characters over several days as they flee Shanghai to hide out in the countryside.

Chen Kaige's ambitious historical epic is more diorama than drama. The film re-creates the rise to power of Ying Zheng, the warlord who in 221 B.C. united China and became its first emperor. Chen wants to show us the violent, decisive acts that shape history, and the plot eventually sets Zheng (Li Xuejian) against his childhood lover, Lady Zhao (Gong Li, who retains her beauty even after her character's face is branded), and Jing Ke (Zhang Fengyi), the reluctant assassin she sends to kill him.

Curse of the Golden Flower, a fictionalized historical glimpse into the brutally complicated politics of Emperor Ping's (Chow Yun Fat) reign during the Tang Dynasty, shows the viewer just how far a megalomaniac must go to gain and retain power in medieval China. Lavish sets, massive ceremonial displays, and perversely fascinating battle scenes impress similarly to the special effects Americans have come to love and expect from Chinese action films like Zhang Yimou's previous House of Flying Daggers and Crouching Tiger, Hidden Dragon.

The kick is never shown, but the entire film is based around it. It's winter in the remote Shaanxi province. Pregnant Qiu Ju (Gong Li, 2046) is married to laidback farmer Qinglai (Liu Pei Qi). When village chief Wang (Lei Lao Sheng) kicks him during an argument, she sets out to ensure that her husband receives medical attention--and justice. Clad in a bulky jacket, face partially obscured by a thick scarf, the strong-willed woman, joined by sister-in-law Meizi (Yang Liu Chun), travels far and wide to find someone who can coerce Wang to apologize (she asked, he refused).

Zhang Yimou (Ju Dou) directed this fascinating, visually formal 1991 film about an educated woman (Gong Li) who is sent off to become the newest wife of a feudal nobleman in 1920s China. Nearly isolated in his spooky, palatial home, she develops relationships with several of the other wives and slowly becomes aware of a hideous legacy of punishment toward more willful women. The film has a brittle and dry quality that is deliberate, but also suggestive of Zhang working through various explorations of his own style (which he resolved in his next film, The Story of Qiu Ju).

One of the best films of 1994, To Live is a bold, energetic masterpiece from Zhang Yimou, the foremost director from China's influential "fifth generation" of filmmakers. Continuing his brilliant collaboration with China's best-known actress Gong Li (their previous films include Ju Dou and Raise the Red Lantern), Zhang weaves an ambitious tapestry of personal and political events, following the struggles of an impoverished husband and wife (Ge You, Gong Li) from their heyday in the 1940s to the hardships that accompanied the Cultural Revolution in the 1960s.

The director of Chicago, Rob Marshall, transports us into a mysterious and exotic world that casts a potent spell. A Cinderella story like no other, Memoirs Of A Geisha stars Zhang Ziyi, Ken Watanabe, Michelle Yeoh and Gong Li. "Gorgeously photographed, meticulously directed andihypnotically acted. Memoirs of A Geisha isiluxurious, ethereal andiintoxicating. It will leave you breathless." (Rex Reed, New York Observer)

In Wong Kar Wai's quasi-sequel to In the Mood for Love, 2046 is a hotel room, a futuristic story, and a state of mind. Tony Leung returns as Chow, but perhaps not the same Chow who appeared in the first film. Starting three years later in 1966, we see Chow on various Christmases as he lives, loves, and writes in a hotel and nearby restaurants. Although he is less sensitive and more of a ladies man now, Chow's love life always seems to exceed his grasp. Whether the character is the same (the director calls this an "echo" of the first movie) might be trivial.