The big theme for this year’s WOW Film Festival was ‘F-rated’: films centred around women, either made by female directors, or films about women.
Hiu Chan reviews the remastered and digitalised silent classic, THE GODDESS, which premiered this year as part of the London BFI Film Festival.
Horror needs to be tactile and tangible, according to Hiu M. Chan, in her review of HOUSE OF WAX.
Hiu Chan speaks to Tibetan director Pema Tsedan at the fourth annual Chinese Visual Festival.
The China Independent Film Fest is an important platform for Chinese indie filmmakers who are confounded by censorship in their own country. We spoke to one of the organisers.
We spoke to the director of Wales One World Film Festival, which probably offers the most accurate definition of what world cinema should be, writes Hiu Chan.
When a cultural event like the Wales One World Film Festival is conducted with such passion and love, the warmth can always be felt, writes Hiu Chan.
Academic researcher Hiu Chan muses on the issues behind NO JET LI, a witty examination of diaspora Chinese identity filmed in collaboration with Yellow Earth.
Hiu Chan reports back from Watch Africa, the first African Film Festival in Cardiff – and speaks to festival organiser Fadhili Maghiya.
Such a shame that great films like SO YOUNG, which show how Chinese culture has moved with the times, are not picked up by UK distributors, writes H. Chan.