Yang Lina

Lao tou

Yang Lina

In this documentary film, Lina Yang gives the viewer a look into the often sad and frustrating lives of the elderly in modern China. Their sense of uselessness, and loss of hope, is vividly portrayed.

春潮

Yang Lina

Hao Lei, Elaine Jin

Journalist Guo lives together with her mother and daughter in the same residence. The relation of three generations looks placid but there is actually a fierce undercurrent of rebellion and resistance.

春梦

Yang Lina

Zhao Siyuan, Jia Fu

Linking several genres in a surprising and successful way, Yang Lin’s fiction feature debut is an Asian ghost story in which documentary scenes show how incongruous today's reality can look in China. Protagonist Fang Lei lives in material wealth and only has to care for her daughter. One night, a young mysterious lover appears and makes passionate love to her.

我的邻居说鬼子

Yang Lina

The elderly are interviewed on the memories they have on the Japanese soldiers who occupied China in the late ‘30s. Some remembered, some didn’t, but the result is an endearing chronicle of what we choose to live with in the old age.

The Love of Mr. An

Yang Lina

Lao An, Xiao Wei

Mr. An is almost 90 years old. He loves life, dance and the smiling young Xiao Wei, his daily life companion. His wife, secluded at home, is quite unhappy about this friendly and love relationship. Xiao Wei’s husband doesn’t seem to care. One morning Mr. An get sick and has to be hospitalized. Xiao Wei start to wonder if she shouldn’t end the relationship.

家庭录像带

Yang Lina

Yang Lina's second documentary. She films her family as a director; her father and mother divorced many years ago, when she was not present. In the film, she keeps asking her father, mother, and younger brother various questions — and there is a a gap in their memories. The second half of the film records each person's reaction when watching himself or others' onscreen.

Les herbes sauvages de Qingdao

Yang Lina

Since the start of the 1990s, a period during which the Chinese government criticised the Western media for biased reporting, Chinese orphanages have strictly controlled access by the media. Because of the difficulty of gaining entrance, it is extremely difficult to know what the situation has been like there for many years. Accompanied by a mother living close to the Qingdao centre, it was thus nevertheless possible for me to film this delicate subject in privileged conditions. It was there that, in 1995, I discovered for the first time dozens of children abandoned by their parents. Over the following 10 years, I came back to visit them every year, and I became their friend. As I listened to them relating their dreams of glory, I filmed their evolution over a decade...