China is in the midst of moral questioning with films like Feng Xiaogang's Tian xia wu zei (2004) [A World Without Thieves] and Da wan (2001) [Big Shot's Funeral] which provide a forum for such critique. This is a great place to start.

Chen Kaige is a legendary director, who, along with Zhang Yimou, defined the so-called fifth generation, the dramatic resurgence of mainland Chinese filmmaking. "Farewell My Concubine" is a vindication for Chen Kaige over the ever-increasing awards and platitudes directed Zhang Yimou's way. Why?

There is a resilient and recurring figure of the White Knight contrasted with the servile "whore with a heart of gold." Images still abound of Dragon Ladies, Geisha/China Dolls, or Fatalists. Why do these images continue to "hang around"?

In The Mood For Love can be considered anathema to everything Hong Kong cinema. What does this movie and the phenom of Wong Kar-wai say about the possibility of and gender representation in Hong Kong cinema?

Based on our epistemological framework we are looking for good vs. evil. Juxtaposed against our longing for the simplistic, Miyazaki doesn't make judgements about good or evil. Miyazkai simply asks many questions.

Toho's Gojira - the one that started it all, is nothing like the US remake Godzilla: King of the Monsters. Gojira is a resilient cultural icon both in the US and Japan. In this time-honored version - part drama, part sci-fi, part Kaiju Ega; Gojira defies classification.

Interrogating the image includes calling to question the role that media and cinema play in articulating contemporary concepts of nationalism, national history and identity which lie at the core of attempts to normalize the past.

Water is set in the 1930s and focuses upon the difficult lives of an impoverished group of widows living in an ashram. Water was nominated for the 2007 Academy Award for Best Foreign Language Film, making it Canada's first non-French-language film to receive a nomination in that category. What makes the trilogy so compelling?