Palais du levant, palais du couchant

This haunting Chinese film is multi-texured. It is not just about being gay; it examines the very fabric of Chinese society in Beijing, which pretty much represents Chinese society in just about every city in China. It makes a strong political .statement without being political. It makes a strong social statement about those who are judgmental about gay men and their chosen lifestyle. And most of all; it humanizes a gay man. This man is far more in touch with his feelings than is his inquisitor. In my opinion, this film is better than Brokeback Mountain, but not quite as good as Philadephia and The Boys in the Band, the two best films ever made on gay lifestyles, and which humanize their protagonists, rather than sensationalize them. I can recommend this film as a unique cinematic experience.

In Beijing, gays have hidden sexual encounters in a park during the night and are severely repressed by the police. The writer A Lan (Si Han) is arrested by the policeman Xiao Shi (Jun Hu) and along the whole night, he is interrogated, disclosing his hard life-story since he was a child and his crush on Xiao Shi.

"Dong Gong Xi Gong" could be called confessions of an infatuated gay writer in Beijing. This film is bald and in accordance with the information on the cover of the VHS, "it is the first Chinese movie assumed gay, success in whole world… forbidden in China". The theatrical story is well acted by Si Han and Jun Hu. In accordance with the opinion of some IMDb reviewers, this film would be a metaphor of the repressive situation in China, but is it? I do not agree with this intellectualized interpretation, and in my opinion, it is a simple and well acted gay romance, better and better than the famous "Broke Back Mountain". My vote is six.

Title (Brazil): "O Outro Lado da Cidade Proibida" ("The Other Side of the Forbidden City")

It's my second time watching this film, the first time was almost 10 years ago. Still this gay- theme film remains to be shocking and controversial at the same times.

For the pros, I love its poetic atmosphere from its cinematography, lightning arrangement and the limited setting made it close to a play; and theme-aside, Yuan Zhang's directional abilities continue to surface from this film, the main scene is a small police office in Beijing where there is a fierce confrontation between a camp gay writer and a night-patrol policeman, which narrates the story of the life of the gay man. Usually I feel antipathetic against groups stereotyping as in this case, not every gay is campy, nevertheless in the film with its narrative novelty, it evolves into something could be perceive as some kind of funny performance art.

For the cons, the intrusions of Chinese opera are functionally essential but visually redundant. Judging from the conversations (especially from the policeman, a boring performance from Jun Hu), the director stands firmly as an outsider with some detectable mocking attitude, which damages the visceral influence to some extent.

A Chinese film explicit exploring of gay world in 1996 itself could be concluded as a both adventurous and smart strategy, although I don't like the film as a whole, it did help Yuan Zhang establish his status as an avant-garde Chinese director, who later films like GREEN TEA (2003), I Love You (2003) and Little Red Flowers (2006) are more mainstream and carry his own trademark, a superior feeling towards his objects (un unmarried master-degree female, the monomaniac struggle between a young married couple, the kindergarten children respectively).

P.S. - The film is adapted from a short story by the late Chinese novelist Xiaobo Wang, which I haven't read yet.

For anyone who views understatement in cinema as dull, this is not the film to see. Every line, every angle, every event are introduced almost as if the viewer were in the same room with the actors, or at least on the edges looking in closely. Even its more melodramatic moments seem controlled, almost introspective.

The classical unities of stage drama hold sway here. Like the latter scenes in the film "Bent," there is a sexual tension that merges with a political theme. Ultimately that demonstrates freedom exercised in the face of tyranny. While I think it would be too limiting to emphasize either one or the other of these two elements, as some of the few comments here have stated or implied, any perceptive viewer is likely to come away with a feeling of frustration. And that is as it should be. It is a hallmark of any good story, cinematic or otherwise, to engage the imagination of a viewer or reader so as to elicit more questions than answers.

This is a movie that could just as well be a play acted in a small theater, a short story from the pages of a literary magazine, or a reality show played out before a psychology class. A small gem.

'East Palace, West Palace' is a film that's immeasurably diminished, indeed misunderstood, if it's labeled a gay film.

Certainly, 'East Palace, West Palace' explores issues related to the gay experience. But that's the first, and indeed facile, layer. There are more.

In its context, it poses a society in transition. It explores the constructs of power, of state machinery, and how institutions and ideas past their prime can dehumanize both parties, victims as well as perpetrators.

The film has moments of lyrical and almost escapist beauty, leaving no room for the claustrophobia that the plot construct could easily have engendered. Visually and verbally, poetry in a police station makes for near-surreal surprises.

As it builds, the film undergoes sudden shifts, rising much above comment on the politics of desire. Instead, it begins to underline the politics of politics itself. The rights being debated in that one night in the police station have much more to do with the right to freedom, the right to self-expression, the right to identity, than to do with the right to cruise in parks.

In a lot of issue-based cinema, marginalization affects both parties equally. Both the person wielding the stick and the person encountering the stick get trapped in their predefined roles. Not so in 'East Palace, West Palace'. In the dialectic between the two protagonists, there can be no clear lines drawn between the powerful and the overpowered, the loving and the loved.

Intensely abstract, and, simultaneously, intensely personal. That's how 'East Palace, West Palace' succeeds for me.

As a gay man who'd expected to see yet another gay film, I should've checked my labels in at the door.