Aftershock is a Chinese disaster-drama film directed by Feng Xiaogang and produced by Huayi Brothers, starring Zhang Zifeng, Xu Fan, Zhang Jingchu, Chen Daoming, Lu Yi, Zhang Guoqiang and Li Chen. The film depicts the aftermath of the Tangshan earthquake. It was released in China on 22 July , and. Drama · The epic story of a family separated as a result of the Great Tangshan Earthquake of 18 October | Encore Magazine; Aftershock () Movie Review 12 October | Beyond A soldier fights to gain recognition for comrades who died during the Chinese Civil War. Director: Xiaogang Feng. History · A TV drama remake of the Hong Kong Chinese blockbuster movie " Aftershock" about a family that got separated by an earthquake.
29 Oct It's not until that the story of the mother and the daughter she lost comes full circle in the wake of another earthquake in Sichuan. A massive commercial success in China, Tang Shan Da Di Zhen (aka Aftershock) made its North American debut at the Toronto International Film Festival. More. 14 Oct Although the state-of-the-art effects of the brief earthquake scenes lend the film an epic feel, and the story arc clearly harbors ambitions of encapsulating China's strenuous road to prosperity through one family's saga over 32 years, "Aftershock " ultimately is a small family melodrama revolving around. , - Panorama - View China: Most Focused Chinese Films; ( 12th) San Diego Asian Film Festival - October 20 - 28, - Asia Pop! ( 10th) Osaka Asian Film Festival - March , - Special Programs - Memorial – Four Years from Great East Japan Earthquake.
23 Jul The first Chinese film to play on Imax screens opened this week in China, marking the latest move by Hollywood to seek a role in one of the world's fastest- growing movie markets. “Aftershock,” with a budget of more than $20 million ( considered high by Chinese standards), from director Feng Xiaogang. 31 Oct 3 in that box office ranking), has been called the Spielberg of China. In “ Aftershock” the comparison makes sense in terms beyond commercial success. He somehow manages to mitigate the worst excesses of Su Xiaowei's script. The film may be a blunt instrument, but it's rarely maudlin — the exception.