With Hao Qin, Sicheng Chen, Wei Wu, Zhuo Tan. Wang, apparently infatuated with Jiang and unable to live without him, still seems to want to remain within his marriage despite his wife’s increasingly possessive behaviour, dreaming of an arrangement where he could perhaps have the best of both worlds. That is, until he receives an unusual business proposition. [2][3], "Legend Of Hao Lan Reunites 9 Yanxi Palace Actors & It's Showing In S'pore Now", https://en.wikipedia.org/w/index.php?title=Tan_Zhuo&oldid=972798142, Short description is different from Wikidata, Articles containing Chinese-language text, Articles containing simplified Chinese-language text, Articles containing traditional Chinese-language text, Articles with Chinese-language sources (zh), Pages with login required references or sources, Wikipedia articles with WORLDCATID identifiers, Creative Commons Attribution-ShareAlike License, This page was last edited on 13 August 2020, at 21:27. Yet it’s not business acumen which underpins his success but thuggery and a thorough disrespect for conventional morality. Private investigator Luo Haitao (Chen Sicheng) has been tailing the men on the behest of a suspicious wife, Lin Xue (Jiang Jiaqi), who suspects her husband, Wang Ping (Wu Wei), is hiding a secret but never guessed it was another man, Jiang Cheng (Qin Hao). Meanwhile, there’s trouble brewing on the home front. Talking to another man in a similar situation Wenxue is given a dressing-down, reminded that he’s been extremely self-involved and that the problems he’s now able to see in his marriage thanks to the light were there all along, only now he’s refusing to face them in a much more direct way. Tan Zhuo (simplified Chinese: 谭卓; traditional Chinese: 譚卓; pinyin: Tán Zhuó, born 25 September 1983) is a Chinese television and film actress.She appeared in the films Spring Fever (2009, banned in China), Dying to Survive (2018, one of the highest-grossing films … At 10am one spring morning, a brief flash of light creates a slight temporal disturbance causing a small percentage of the population to simply vanish. “Drunken nights without hope, like this one: I spend them wandering outside until the sky grows pale.” Those words, written in 1923 by the Chinese author Yu Dafu, serve as the epigraph for Lou Ye’s rambling, unstrung soap opera “Spring Fever.” As a voice-over murmurs the epigraph, the camera surveys the murky skyline of Nanjing, the Chinese city through which its restless young characters drift in a state of sullen heat. 2006’s Summer Palace earned him a five year ban for its scenes of full frontal nudity and references to Tiananmen Square Massacre (or, as later claimed, for “failing to meet appropriate standards for sound and picture quality”). Jianhua has also been earmarked for a promotion at work and is covering for a sick colleague, but the arrival of a new teacher threatens to dangerously unbalance the carefully won equilibrium of the Gu family. Sangkun is the embodiment of casual abuse of power. Zhuo Yifan's Wife. “Sheep are happy as long as they have grass to graze, they don’t care if you shear their wool” according to a vox popped farmer in the ironically titled Sheep Without a Shepherd (误杀, Wùshā). Baomin is a violent man. Jianhua is also a high ranking teacher at Xiaoyang’s school and demands high levels of discipline and commitment from his family, even forcing Xiaoyang to dob one of his friends in under heavy questioning about a playground fight. He pursues Jiang while his relationship with Li Jing flounders, but feels himself responsible for her wellbeing and unable to abandon her entirely in the knowledge that she is in a fragile state. Meanwhile change is on the horizon everywhere. Her tactics may be underhanded and unethical, but at the end of the day, as she points out, it doesn’t really matter. It’s a question the mostly middle-aged couples of Gone with the Light (被光抓走的人, Bèi Guāng Zhuāzǒu de Rén) who perhaps assumed they were past such existential questioning find themselves contemplating after an unprecedented event causes the disappearance of seemingly random people from all over the world giving rise to the rumour that those taken were those truly in love. These people are dying because they’re poor and have been deemed expendable. Temporarily boosted by the possibility of a promotion, he decides to try rebelling by chasing a younger woman who is very much not his type, little knowing that she sees him only as a venerable teacher and is shocked by his improper interest in her. Meanwhile, Luo has continued following Jiang even though the investigation is over. This being a Mainland film, crime cannot pay but Yong manages to emerge from his straitened circumstances in heroic style as he stands both remorseful for having broken the law and angry that he even had to. Hired to spy on a philandering husband, Luo Haitao soon becomes entangled in a clandestine affair with the other man. The tableau is one of the few reflective moments in an otherwise chaotic, distracted melodrama. Big box office Chinese comedy continues to run rings round the censors in Wen Muye’s Dying to Survive (我不是药神, Wǒ Bú Shì Yào Shén). Nature red in tooth and claw – life in the arid Northlands of modern China is surprisingly bloody in Xin Yukun’s The Coffin in the Mountain followup, Wrath of Silence (暴裂无声, Baomin will stop at nothing until he finds his son. Yong’s transformation from schlubby snake oil peddler to (medical) drug dealer extraordinaire is a swift one and perhaps a satirical example of amoral capitalistic excess in his series of moral justifications which allow him to think he’s better than Big Pharma because the price he’s charging is lower even while knowing there are many people who still can’t afford it. The fact they weren’t chosen eventually becomes a kind of embarrassment, the promotion going to a man whose wife disappeared on him for the slightly strange reason that being betrayed in love somehow grants him the moral high ground. Dutpon’s disinterested authoritarian parenting coupled with Laoorn’s indulgence and willingness to enable her son’s crimes through covering them up is perhaps blamed for the “monstrous” young man Suchat was becoming, himself standing in for a generation of wealthy, pampered sons of elites raised with improper boundaries who think they can do as they please because they are somehow above the normal morality. A petty thug (Bai-ke), in the only subtle implication of a same sex love, becomes obsessed with the idea that his friend has been murdered by a TV presenter who had been bothering him and his death has been covered up to look like one of the disappearances, perhaps again hoping to find evidence against a romantic rejection. Dying to Survive was screened as part of the 2019 Udine Far East Film Festival. A voiceless everyman forced away from his family by a series of unfortunate events, returns to look for his missing son but finds only a malevolent darkness invading the corners of his once peaceful rural mountain town. Bored and lonely at home, Xiaoyang has begun to bond with an older man at their courtyard who also loves football and has promised to help Xiaoyang train for the upcoming school tryouts next term if only he can persuade his dad to sign the consent form. Sheep Without a Shepherd opens in UK cinemas on 21st August courtesy of Cine Asia. The tryst, however, will not be so secret as they assume. Baomin will stop at nothing until he finds his son. Tan Zhuo (simplified Chinese: 谭卓; traditional Chinese: 譚卓; pinyin: Tán Zhuó, born 25 September 1983) is a Chinese television and film actress. Chang exists in the no man’s land between them as an example of the new elite – his life is one of Westernised elegance in his smart study and wood panelled drawing room with its deer heads on the walls.

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