Wang Hongwei

A town in Fengjie county is gradually being demolished and flooded to make way for the Three Gorges Dam. A man and woman visit the town to locate their estranged spouses, and become witness to the societal changes.

Four people in different provinces are driven to violent ends: An angry miner is enraged by corruption in his village. A migrant discovers the possibilities of owning a firearm. A receptionist is pushed beyond her limits by an abusive client. A young factory worker goes from one job to the next.

When the Sun begins to expand in such a way that it will inevitably engulf and destroy the Earth in a hundred years, united mankind finds a way to avoid extinction by propelling the planet out of the Solar System using gigantic engines, moving it to a new home located four light years away, an epic journey that will last thousands of years.

A small town pickpocket whose friends have moved on to higher trades finds himself bitter and unable to adapt.

Three parents who have lost their children are involved with each other because of a deal; they have no soul in their eyes and hatred in their hearts, and each of them, with their own purposes, set out on the road of seeking revenge for their children, and staged a bizarre and dangerous killing in the barren land.

China’s rapid changes from the late 1970s to the early 1990s, as seen through the lives of four performers in a theater troupe.

At Beijing World Park, a bizarre cross-pollination of Las Vegas and Epcot Center where visitors can interact with famous international monuments without ever leaving the city’s suburbs, a security guard betrays his dancer girlfriend by pursuing another woman.

In the 1990s, a group of students on the campus of the Chinese Southern Academy of Arts are pursuing their studies and preparing to face the world. China is opening up to the West and the students’ lives are a tangle of love stories and friendships, artistic research, ideals and ambitions brought about by new influences. Caught between tradition and modernity, they have to decide who they want to become.

A mother and her son living amid economic turbulence in the beautiful Chinese green tea-farming landscape.

During the Cultural Revolution, two young men are sent to a remote mining village where they fall in love with the local tailor's beautiful granddaughter and discover a suitcase full of forbidden Western novels.

Five shorts reveal a fictional Hong Kong in 2025, depicting a dystopian city where residents and activists face crackdowns under iron-fisted rule.

The film tells the story of a group of Chinese youths who robbed a bank of the “Manchuguo”, a puppet regime formed in China’s northeastern provinces by Japanese invaders in the 1930s and ’40s.

Two disaffected, unemployed Chinese youth drift through life on the streets of their industrial town, their paths crossing with that of a local young singer and dancer working for a liquor company as a spokesmodel.

Xiao Shan, a temporary worker at the Hongyuan Restaurant, has just been fired by his boss Zhao Guoqing. Deciding to leave Beijing and returns to his home in Anyang, he goes to see a series of people from his hometown who have also been living in Beijing-construction workers, train ticket scalpers, university students, attendant, prostitutes-but no one wants to go back with him. Dispirited and confused, he searches out one after another of his old friends who are still in Beijing. Finally he leaves his wild long hair, the symbol of his life in the city, at a roadside barber stand as his offering to Beijing.

An ancestral city; through its delicious botanical garden and its branched canals, we observe the clues and traces of its ancient culture. Two couples of men and women, former lovers, meet again one year later. The yesterday's breath of youth is still perceptible in their conversations. Is it still possible for us to love? Does youth really have an end? Like the networks linking the old city, what type of ecological existence does their culture require?

Zuo Shouquan is the director of the morning paper in a north-eastern city. He has a daughter, Zuo Mingming, who lives with his ex-wife. The girl is neglecting her studies. She is not particularly interested in her education. Her father wants her to move and start working at his newspaper. Zuo Mingming won’t have it; she plays in a band and her only dream is to pursue a musical career in the south. Father versus daughter, north versus south – a deeply rooted conflict between different systems of values in a contemporary Chinese comedy.

A voyage between a woman searching for the meaning of life and a man holding a book of poems on the longest river of Mainland China.

Gu Wentong learns the whereabouts of his father, who lost contact with him more than 40 years ago. Encouraged by new friend, photographer Ouyang Wenhui, Gu Wentong decides to face his father and rebuild the long-lost father-son relationship.

The camera gazes at the crowd in Tiananmen Square. Accompanied by the music of Qigong exercises, the lives passing to and fro seem imbued with an immense weight.

After his marriage falls apart, Wang Dali (portrayed by Zhang Luyi) continues to live under the same roof as his ex-wife Zhang Jing (portrayed by Qi Xi), yet an insurmountable "emotional time lag" has grown between them. However, a bird-searching experience and the shared responsibility of taking care of their family gradually bridge the gap between them. How will Wang Dali seize this chance to win back his lost love and family?

Modern China. On a bright sunny day, in a building site, an industrial complex is being deconstructed. Night falls. The ruins of the factory are empty and silent. Phantoms appear, voices are heard, telling their stories....From the anthology The State of the World.

Every parent wants to secure the best possible future for their child. For Sun and Li, that means getting their six-year-old son, Yu, admitted to an elite international school. However, after the interview, whispers of rejection emerge, prompting the couple to meet with their trusted "helpers" – a board member and an admissions agent – in a hotel room to find out who is to blame. As suspicion mounts, hidden motives and quiet frustrations begin to surface, revealing that the school admission process is merely a reflection of deeper anxieties concerning success, security and self-worth.