As we welcome in the Lunar New Year, and with it the promise of fresh beginnings and the celebration of rich traditions, it’s the perfect time to explore some of the finest films from China. The nation’s cinema is as vast and varied as the country itself, offering a captivating array of storytelling. From epic historical dramas to intimate depictions of family dynamics, the Chinese film industry has long been a cultural beacon. Here’s a curated list of films that showcase the depth of Chinese filmmaking. Whether you’re a cinephile or a newcomer to Chinese cinema, these films are a great place to start.

“From epic historical dramas to intimate depictions of family dynamics, the Chinese film industry has long been a cultural beacon”

Raise the Red Lantern (1991)

Zhang Yimou’s Raise the Red Lantern is a visually stunning and emotionally charged exploration of power, tradition, and gender within a rigidly patriarchal society. Set in 1920s China, the film follows Songlian (Gong Li), a young woman who becomes the fourth wife of a wealthy and powerful man. The story unfolds as she navigates the intense competition and jealousy between the wives, each vying for the favour of their husband and privileges that come with it. The film’s striking cinematography, especially it’s use of colour – like the red lanterns which symbolise each wife’s position in the household – underscores the oppressiveness of the environment in which Songlian finds herself, and her descent into madness is both heartbreaking and chilling. Raise the Red Lantern received widespread critical acclaim, winning the Silver Lion at Venice and an Oscar nomination for Best Foreign Language Film. It’s a key work in China’s Fifth Generation cinema, ranking on The New York Times’ 1000 greatest films and BBC’s 100 best foreign language films. Directed by iconic director Zhang Yimou, it explores gender and societal issues and cements his reputation as a master filmmaker. While his later films like Hero (2002) and House of Flying Daggers (2004) are also powerhouses of Chinese cinema, Red Lantern remains one of his most intimate and profound works.

The Blue Kite (1993)

Tian Zhuangzhuang’s The Blue Kite is a politically daring film which takes viewers on a journey through the turbulent history of Maoist China. Told from the perspective of a young boy named Tietou, the film explores the personal impact of major political events, including the Chinese War, the Great Leap Forward (a social and economic social campaign), and the Cultural Revolution. Through the young boy’s eyes, the film deftly weaves together the shifting political landscape and the havoc it wreaks on family. The Blue Kite was controversial for its unflinching portrayal of the Cultural Revolution, so much so that it was originally banned in China upon release. Despite this, the film became a critical success on the international stage – selected at Cannes and Sundance Film Festivals. It serves as both a historical document and an exploration of human resilience in the face of adversity.

“The Blue Kite serves as both a historical document and an exploration of human resilience in the face of adversity”

In the Mood for Love (2000)

Set against the vibrant yet melancholic backdrop of 1960s Hong Kong, Kar-wai’s In the Mood For Love is a film that transcends time and place to capture the universal feeling of unspoken longing and missed opportunities. The film follows two neighbours, played by Tony Leung Chiu-wai and Maggie Cheung, who discover that their spouses are having an affair with each other. Over time, they form a deep, unspoken emotional bond, yet neither ever acts on their feelings as they struggle with both their own moral codes and the cultural expectations surrounding their behaviour. The film is an exquisite study of restraint, desire, and the passage of time, framed by some of the most beautiful cinematography ever put to film. Wong Kar-wai’s signature style –non-linear storytelling, lush visuals, and a deeply atmospheric soundtrack –complements the film’s exploration of the inner lives of its characters, creating an immersive and haunting experience. In the Mood for Love is a quintessential work in Hong Kong cinema and, more broadly, in Chinese-language cinema. Its exploration of love and isolation resonated with global audiences and earned the film widespread acclaim, including Hong Kong Film Awards for both leading actors, cementing it as one of the most iconic films of the early 21st century.

A Touch of Sin (2013)

Jia Zhangke is widely regarded as one of China’s most acclaimed filmmakers, known for his poignant, realist portrayals of contemporary Chinese society and his exploration of themes such as modernisation, social alienation, and the human cost of rapid change. A Touch of Sin follows four interconnected stories, each of which highlight deep inequality, corruption, and powerlessness. Each segment follows a character driven to violence by societal pressures: the first segment focuses on a migrant worker confronting police corruption, the next on a young woman in a mining town facing patriarchy and violence, then on a man seeking justice against a corrupt employer, and, finally, someone driven to violence by societal injustices. The film’s style is marked by Jia Zhangke’s signature realism, with long takes, deliberate pacing, and stark cinematography that emphasise the emotional distance and isolation of the characters. Together, the characters serve as a reflection of the frustration and isolation felt in a materialistic, modern society.

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