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Byline: Dana Thomas
Hollywood is the home of the blockbuster, and Europe of the auteur film. But Asia has been steadily combining the two schools to come up with a whole new genre: the artful and intelligent crowd-pleaser. Smart, expertly acted and breathtakingly beautiful, these films are beginning to rack up awards and box-office receipts. In May Asians won four awards at the Cannes Film Festival; South Korean director Park Chan-wook won the Grand Prix for "Old Boy" and Thai filmmaker Apichatpong Weerasethakul took the Jury Prize for "Tropical Malady." Fourteen-year-old Yuya Yagira came away with the best-actor prize for his role in "Nobody Knows," while Chinese star Maggie Cheung won best actress for her portrayal of a recovering drug addict in "Clean."
The principle behind this new Pacific Wave is straightforward. "I respect my audience, so I don't want to show them things they won't understand," says Zhang Yimou, whose latest picture, "House of Flying Daggers," screened out of competition at Cannes. "And the story must be simple. If it's too complicated, there is no room for emotional depth and visual esthetics." Our pick of the season's best:
'2046'
Directed by Wong Kar-wai (China)
Set in the late 1960s, "2046" picks up darkly where Wong's highly acclaimed "In the Mood for Love" left off: Chow Mo Wan (Tony Leung) has left his paramour (Maggie Cheung) and has been laid off from his newspaper job. He lives in a seedy Hong Kong hotel, writing science fiction, drinking and seducing upmarket call girls. As in "In the Mood," the women are gorgeously done up, the banter is pointed and the emotions are as taut as silk thread.
'House of Flying Daggers'