Beijing, April 24, director Susie Au, musician Huang Yaoming and actress Zhou Xun went to Bejing new century cinema to promote the movie Ming Ming.
In the interview which lasted 20 minutes, majority of questions were for Huang Yaoming because he is less popular in China and Zhou Xun played as an interpreter.
Last year Zhou Xun won many awards with the role Sun Na in "Perhaps Love". This year thank to the role Qing Nu in "The Banquet" she has won the "best supporting actress" at The 2007 Hong Kong Film Awards. Some reporters therefore asked her if she hoped getting more prizes due to MingMing. She beckoned her hands again and again and said she was not too greedy.
Wednesday, April 25, 2007
Beijing, April 24, director Susie Au, musician Huang Yaoming and actress Zhou Xun went to Bejing new century cinema to promote the movie Ming Ming.
Tuesday, April 24, 2007
Shanghai, April 23, first showing of MingMing was held. Because Yang Youning and Daniel Wu were busy with their work, only Zhou Xun and director Susie Au attended the meeting.
In the movie Zhou Xun play two roles: Nana and MingMing. For her this is a challenge because "two characters has many differences in both appearence and characteristic. Nana is passionate and modern while MingMing is gentle"
In fact, Zhou Xun and Susie Au knew each other some years ago when they cooperated to shoot an advertisement clip. At that time Susie found favour with Xun and said that when she made a movie, Xun would be a leading actress. Several years after, it comes true :)
Friday, April 20, 2007
Author: Kozo from lovehkfilm.com
AKA: Nana on the Run
Director: Susie Au Shuet-Yi
Writer: Susie Au Shuet-Yi, Angela Lau
Cast: Zhou Xun, Daniel Wu, Tony Yang, Jeff Chang, Kristy Yeung Kung-Yu, Chan Bo-Yuen
The Skinny: Attractive and unfathomable. Susie Au's debut feature has style to spare, though to what end is ultimately questionable. Alternately enthralling and annoying, which isn't entirely a bad thing. Your mileage may vary.
Review by Kozo:
Cross Wong Kar-Wai with over-the-top Japanese anime and what might you get? Ming Ming. Music video director Susie Au's debut feature is sometimes stunning and sometimes unfathomable, meaning it's only partially successful. But there's good stuff here, too. Zhou Xun stars in two roles, first as Ming Ming, a black-clad superchick who's fallen for D (Daniel Wu), a tough enforcer working for mob boss Brother Cat (Taiwanese singer Jeff Chang). While sharing some quality time in the tub, D confides to Ming Ming that he only needs two things: 5 million dollars and a trip to Harbin. Rather than try to understand his need, Ming Ming steals the money from Brother Cat. Her goal is to hand it off to D so they can visit Harbin together. Unfortunately, soon after snatching the money, Ming Ming can't seem to find D.
Besides lifting the cash, Ming Ming also takes a special box wooden box from Brother Cat, and he's exceptionally bothered to get that box back. Brother Cat sends plenty of thugs after Ming Ming, but she's able to fend them off thanks to her keen martial arts skills and ability to throw, uh, black beads. Ming Ming frequently flings these little black beads (Which look like the tapioca balls you might find in your boba milk tea. Mmmm, boba.) at her pursuers, many of whom get punctured by the flying projectiles. The chase eventually takes to the streets of Central, where Ming Ming hands off the money to Tu (Taiwanese star Tony Yang), who has the self-proclaimed talent of "running", and manages to elude many of Brother Cat's thugs by sometimes running up walls or leaping in an egregiously wire-assisted way. Chasing both Tu and Ming Ming is Mousey (Chan Bo-Yuen), Brother Cat's number one henchman and a frequent recipient of black pearl projectiles.
Tu has a minor thing for Ming Ming, but during his extended chase with Brother Cat's goons, he meets Nana, a spunky, cute, orange-haired lass who becomes his inadverdant traveling partner. Nana looks a lot like Ming Ming, which is understandable because she's also played by Zhou Xun, only this time in a louder, sassier, more girlish manner. In a massive coincidence, Nana is also in love with D, which means Tu now is on the run with a girl who looks like his current crush, but has a crush on the same guy his current crush does. Raise your hand if that sounds confusing. Oddly, Tu and Nana's storyline gets greater focus than Ming Ming's, as the two wander around and eventually get drawn closer together despite carrying torches for other people. Ming Ming takes a backseat, and spends her time looking depressed in a hotel room while Nana and Tu eat up all her screentime. The trade-off isn't so bad because Nana and Tu make a charming couple in that "shared unrequited love" kind of way. The bad news is that without Ming Ming around, the action sequences screech to a virtual halt.
Meanwhile, the ever-brooding D has his own quest: he's searching for the whereabouts of his mother, and the key may be the same wooden box Ming Ming absconded with. Forget the fact that at least two hot girls who look like Zhou Xun are looking for him, D clearly has more important things to do. His quest leads to a cameo from Kristy Yeung, as well as a street fight with a bunch of black-clad thugs that's part Matrix, part Kung Fu Hustle, and part Looney Tunes. Eventually everything comes together with a shocking revelation. One key character dispenses the mother of all secrets, which no one in the audience likely expected because it's outlandish and seems to come from practically nowhere. Basically, the film handles some of its themes better than others, such that the big revelation may cause some viewers to respond with a resounding, "Huh?", if not outright laughter at the ridiculousness of what the filmmakers are selling. Really, Ming Ming is that kind of movie.
But hey, that's okay, because Ming Ming pretty much promises to be unlike your usual movie a good five seconds into its running time. Thanks to an abundance of showy style, Ming Ming proves downright alienating at first. The overdone freeze frames, rapid-fire cuts, and off-kilter editing can disorient the viewer, and the dense and disconnected storyline only adds to the lack of identification. Ming Ming is a strange movie that operates in a strange world. Flinging black beads for weapons? How does a person do that? What's up with Tu's "running" abilities? Why the over-stylized fights? Ming Ming is a work of tremendous imagination, though originality may not be a factor here. There's a lot in Ming Ming that's been seen before; the style is definitely nothing new, having been lifted from the French New Wave, Wong Kar-Wai, and yep, even The Matrix. The effect could be instant alienation on those who've seen any or all of the the above films.
Then again, it's hard to knock any modern filmmaker for appropriating because that's pretty much all one can do nowadays. Film and pop-culture consciousness is something that no modern filmmaker can be isolated from, and as a result there are bound to be lifts here and there -- though one could argue that Ming Ming does it more than just "here or there". Still, Au manages to balance out the film's egregious style by getting many of the emotions correct. During their questionably relevant road trip, Tu and Nana slowly grow closer, and Au captures that with affecting observational style. The film sometimes slows to a crawl, but there's some enjoyment in seeing the lovelorn Tu and Nana futzing about. The action and chase sequences also work sometimes; even though Au's MTV-influenced style isn't that original, it's still exceptionally cool, and the hip soundtrack (from Anthony Wong Yiu-Ming, among others) and energetic camerawork are sometimes enough to make Ming Ming soar. Susie Au has created an intoxicating, sometimes seductive cinema cocktail with Ming Ming. When it works, it's quite a trip.
However, it doesn't always work, which is where the film ultimately suffers. Ming Ming earns points for its existential emotions and sheer stylistic chutzpah, but the film doesn't involve enough to erase its more glaring issues. It's incredibly uneven and even overlong, with flashbacks, repetition and other editing tricks noticeably padding the film out. The drama is sometimes assumed rather than earned, and the film's major plot twist is never developed enough to make it more than a self-indulgent plot detail. The action walks a thin line between cool and silly, and while many of the stylistic flourises do dazzle, others seem excessive if not pointless. Style can sometimes be enough to carry a film, but Ming Ming's thematic aims are so transparent that the whole film becomes a bit pandering. Too often, Au settles for voiceover exposition to tell us what the film is supposed to be about -- a big no-no if she's trying to sell this as a purely sensory experience. And if the film is supposed to have real dramatic weight, then the abundance of silly concepts only gets in the way. A middle ground seems nearly impossible to find here.
There's lot to like in Ming Ming but also a lot to scratch your head over, and the balance could tip either way depending on who you are. If Susie Au's goal was simply to assault audiences with a pseudo-meaningful pop-art confection then Ming Ming is a success. The style is nearly enough to carry the film, and the actors (especially Zhou Xun) are charismatic and brave enough to go wherever Au chooses to take them. But if the goal was something of more tangible thematic depth, then Ming Ming falters. The style never seems to echo the film's self-proclaimed significance, and ultimately seems unnecessary to the existential issues faced by so many of the characters. Which is the way to go? Since film is largely a subjective medium, then there's probably no right answer here. Just pick your side and reap the reward and/or punishment. At the very least, Ming Ming is a tremendous first effort for director Susie Au, and shows that she may have a bright future ahead of her. Au doesn't fully succeed with Ming Ming, but her obvious love for film and its myraid powers gives us hope that one day her passion will pay off. (Kozo 2007)
Posted by Todd on March 21, 2007 07:37 AM - twitch film
Having arrived at the HK Filmart yesterday the combined effects of jetlag and time limits at the net cafe where I'm typing this may force this to be a mite shorter than I'd like ...
The normal approach when a music video director turns to making feature films is to tone down the approach that they built their name on, a somewhat curious decision but understandable in that the devices and effects that work over the span of a popular three and a half minute pop song aren't always the best options to tell a feature length story. But well regarded Hong Kong video director Susie Au has opted for a different approach altogether. Rather than surpress her stylistic urges she has further developed them, using every trick in her extensive book to try and create a new language of cinema. Rather than go for the tried and true she opts to push into new territory and while some may cry "foul" at her deconstruction of traditional narrative or "shallow" at her emphasis on image over exposition those who get this film are going to get it hard.
With Ming Ming Au has attempted something I am, quite frankly, more than a little bit shocked has not been tried much before: she has taken the core elements of the traditional wuxia martial arts underworld and transposed them into a thoroughly contemporary and recognizable Hong Kong. Zhou Xun stars in a double role, playing both the titular Ming Ming and, later in the film, Ming Ming's lookalike Nana. Ming Ming is a beautiful young girl and gifted martial artist - her favored weapon being flicked and flung beads - who has fallen in love with D (Daniel Wu), a drifting fighter for hire currently in the employ of local gangster Brother Cat. D's only goal in life is to somehow come up with five million Hong Kong dollars and travel to a town in remote northern China. Being smitten as she is Ming Ming immediately liberates the five million dollars - along with a prized wooden chest - from Brother Cat, hoping to run away with D. But D has disappeared, leaving a string of jilted lovers behind. And Brother Cat, less than pleased with Ming Ming, has sent a squad of goons after Ming Ming. In the chase Ming Ming's accomplice, Tu, accidentally takes up with Nana - Ming Ming's virtual double and one of the aforementioned jilted lovers - and Ming Ming, recognizing the value of a good decoy, opts to let Tu and Nana search for D on her behalf while she observes from a distance.
Ming Ming is an utterly unique film, unlike anything I have ever seen come out of Hong Kong. It is too pop by far for the arthouse purists, too abstract and challenging for the martial arts fanboys. By refusing to conform to the normal rules of engagement Au has created a film that will likely have a fair amount of trouble finding its audience simply because it defies easy marketing: originaility never boxes up well. The story is nothing that hasn't been seen before, that part of the film relies on formulas as old as proverbial hills, but when it comes to presentation there is arguably nobody else quite like Au working anywhere in the world today.
The film opens with a montage that nods to the Japanese exploitation films of the 70s: a riot of color, style and rapid fire editing set to a blisteringly cool soundtrack. The images burst from the screen as Au breaks out every trick in the editing book to maximize the effect. While the overall approach does tone down some as the film progresses - there has to be room for some narrative, after all - in the early going Au is creating pure visual jazz, constantly deconstructing and riffing on her own images. Au's technical prowess is nothing short of frightening, every frame is flawlessly lit and composed, the sound design is rich with textures, and she has a few signature touches that are immediately and obviously her own.
The temptation is clearly here to label Ming Ming as nothing more than an excercise in style over substance but I resist this urge for three reasons. First, there are rare occassions when style can be substance and I believe this is one of those occassions. This film was made the way it was for a reason and it is no less valid than a film that chooses to stick tight to a traditional narrative arc. Second, Au has an uncanny ability to tell a coherent story purely through visuals. She delivers it in fragments cut together in shards of sound, light and memory but it works anyway and works well. Too often film opts to simply tell us a story in the same way we would be told a story on the printed page neglecting the fact that film is a medium able to appeal to our other senses and faculties as well. Au hasn't abandoned her story or characters by taking this particular approach, she has simply presented them to us in a different way. And third, the film works because it has an excellent cast of performers, every one of whom is able to hold on to the core humanity of their characters in the midst of all the flash. Zhou Xun gives two powerful and distinct performances as both Ming Ming and Nana while Daniel Wu presents a much different side of himself than what we usually see of him on screen, turning in his best performance since One Nite In Mongkok in the process.
Ming Ming isn't a flawless film - it drags some in the midsection and arguably runs just a little longer than it needs to. It is certainly a film that will have its share of detractors. But it is undeniably a powerful, impressive piece of work, one that immediately establishes Susie Au as an entirely unique talent on the Hong Kong and world scene. Very much worth a look.
Tuesday, April 17, 2007
www.chinaview.cn 2007-04-14 21:17:44
BEIJING, April 14 (Xinhua) -- Rising Chinese actress Zhou Xun again plays two roles in Mingming, the first film by veteran Hong Kong music video director Susie Au, but said the roles were not particularly challenging.
Zhou, 31, whose recent work includes Dai Sijie's "Balzac And The Little Chinese Seamstress" (2001), and who once played lookalike girls in Lou Ye's "Suzhou River" (2000), was in Beijing Thursday to promote the new film.
In "Mingming", Zhou plays Mingming and Nana who look alike, are both in love with hero Ah D but act and dress differently: black-clothed Mingming boldly steals 5 million yuan from a big shot businessman to give to Ah D while red-robed Nana sneakily cheats for him.
"The acting challenged me a little because I had to switch roles quickly," said Zhou, who won Best Actress award at both the 43rd Golden Horse Awards and the 25th Hong Kong Film Awards in 2006 for Peter Chan's musical "Perhaps Love".
"Mingming is a modern girl skilled in kungfu, soft on the outside but ruthless inside, whereas Nana is like many girls, pretty and keen to love," she added. "Where they resemble each other is in their determination to pursue the life they want and the man they want, so their psychology is not too different."
Zhou had to spend three to four hours with the make-up assistant each time she switched roles, said Au, director of many of the music videos of Shirley Wong. "I was so worried that she would become schizophrenic!."
"Mingming," scheduled for release in China on April 26, also stars Taiwan love song prince Jeff Chang and Hong Kong A-list actor Daniel Wu, and features a lot of dance-like action scenes, Au said.
Editor: Wang Yan
Sunday, April 15, 2007
The awarding ceremony of The 2007 Hong Kong Film Awards was held at the Hong Kong Cultural Centre yesterday.
Lao Zhou won The Best Supporting Actress (Congaratulation!). When receiving the award she said:"Today, standing here, I am very glad for receiving the award.
I'd like to thank the movie The Banquet, and the director Xiao Gang, Fung.
This afternoon, I tried to think what I should say if I won the best supporting actress.
Actually, when we play in a movie, many people work as supporting roles, such as actors and actresses in supporting roles, secondary directors, secondary art directors, assistants of costume, assistants of stage lighting, assistants of photograph, stage photo directors, masses actors or actresses, substitute roles and also the people who server us tea or water.
Well, you see all these people play an important role in helping us advance in the process of acting films.
So, it is very happy for me to won this award, thank you"
Thank Tea (from zhouxun.tv) in advance
Thursday, April 12, 2007
Recently Motorola has cooperated with Eric So, a puppet designer in order to make special person puppets, Zhou Xun and Zhou Jielun puppets (Xun and Jielun act as spokesperson of Motorola issues in mainland China). When buying MOTOROKR E6 or MOTOKRZR at the Motorola grand exclusive agencies, you will have opportunity to get these ones.
Clothes of the Zhou Xun puppet come from the ancient costume in the movie The Banquet. This puppet has Jue's remarkable features such as thin face and big eyes.
Zhou Jielun puppet has Hip Hop style.
Chinese actress Zhou Xun's latest film "Ming Ming" is slated to open in Chinese theaters on April 26. The film was highly praised at the 11th Pusan International Film Festival in South Korea last October.
Chinese actress-turned-singer Zhou Xun Thursday in Beijing released her new music vedio "Look Look," which is also the theme song for her new action film "Ming Ming." Collaboration between Zhou Xun and Hong Kong singer Anthony Wong, the music mix the rock style with electronic flavor, which exactly meets the tune of the story about the legendary women in a modern city.
Zhou Xun plays two of the leading roles in the film--the Twins, Na Na and Ming Ming, with absolutely different characteristics and personalities. Na Na is a passionate and hot modern woman while Ming Ming is quiet and soft. The two girls fall in love with the same man, played by Hong Kong actor Daniel Wu.
Zhou Xun takes off the classical looks and music as she did in her previous films like "The Banquet," and she tries a different modern style of both appearances and the theme songs in the new movie. Zhou Xun said she always liked to try different things. She tried a different modern song in the film.
Xun said "I like it. I think singing the same style of songs is not an interesting thing. Just like an actress trying different roles, you can taste a variety of music"
The film is the first feature-length production from director Susie Au, who is better know for making unique music videos. Co-starring Taiwan singer and actor Jeff Cheung, the film has aroused many interests from the audience when it gave a preview in Hong Kong last week. The Hong Kong film critics circle called it a new film genre that we have never seen before.
Chinese actress-turned-singer Zhou Xun(L) and CCTV moive channel host Jin Wei(R)
Tuesday, April 10, 2007
On April 10th, a party was held at a stadium of Luoyang, the old city of China. This was a magnificent ceremony with ten thousand of audiences and many honored guests included big stars: Zhou Xun, Zhang Huimei, Wang Lihong, Zhang Shaohan, Fan Wei Qi, Li Zongsheng, Li Huizhen, Peng Liyuan, Yang Kun and korean singger JunJin.
This was the first time Zhou Xun went to Luoyang but her journey was very wonderful. In the party she performed two song: "watching sea" and "companion" and received praise from the audiences.
Sunday, April 08, 2007
2007-04-07 09:33:15 CRIENGLISH.com
Chinese mainland actress Zhou Xun shoots her new photo album. [Photo:sina.com]
Thursday, April 05, 2007
After getting married, many female stars give up their acting and stay at home to take care of their family but Zhou Xun does not choose this way. For her, in modern society, all man hope their lovers has their own jobs. In addition, she love acting very much so even after having baby, she continue playing films.
Considering many famous actors like cooperating with famous directors, she shares her thought: "I think a good script without a talented director or vice versa is not perpect. The best way is combining two aspects".
Wednesday, April 04, 2007
The 2007 Hong Kong Film Award is coming so reporter telephoned to interiew Zhou Xun whom was received the nominee for "The best supporitng actress". Mr Huang, Jue's manager said that last year thanked to the movie Perhaps Love, Zhou Xun won the Movie Queen. This year although she only got nomination of "The best supporting actress", as soon as receiving the invitation from committee of The Hong Kong Film Award, she agreed without hesitance.
On April 14th she will go to Hong Kong and attend the promulgation ceremony.
Zhou Xun, Movie Queen at The 2006 Hong Kong Film Award (sina.com).
Tuesday, April 03, 2007
You know Zhou Xun herself designed some clothes for her characters in the new movie Ming Ming.
There is a good news for fans in China and Hong Kong. Series of MingMing and Nana appeared in the market at the begining of April and at the end of this month series of Rock Star will appear. Pls prepare to buy soon because each series has 260 units.
Where can you buy?
1) Basement 1&2, Island Beverley, 1 Great George Street, Causeway Bay, Hong Kong
2) Shop LG64, Silvercord, 30 Canton Road, Tsimshatsui, Kowloon
3) 1/F, In's Square, 26 Sai Yeung Choi Street South, Mongkok, Kowloon
4) Shop 12-15, Level 5, Langham Place, 8 Argle Street, Mongkok, Kowloon
Distribution stores in mainland
1) 2/F, Shanghai Grand Gateway, Shanghai
2) 3/F, Plaza 66, Shanghai
3) 1/F, Novo Concept, raffles City Mall, Shanghai
4) 1/F-3/F, No. 798, Middle Huai Hai Road, Shanghai
5) 2/F, Hangzhou Lane Crawford, Hangzhou
6) Basement, The Malls at Oriental Plaza, Beijing
7) 3/F, Beijing Junefled Sogo Department Store, Beijing
8) 2/F, Ginza Mall, Beijing
1. Ming Ming theme song in Cantonese, "Have a look" (By Zhou Xun and Anthony Wong)
2. MV of this song (in Chinese)
Chinese actress / singer Zhou Xun (周迅) talks about four male stars with whom she has co – operated before in an interview, and she said that Chinese mainland actor / singer Chen Kun (陈坤) was her ideal lover.
She said that Hong Kong actor Daniel Wu (吴彦祖) was like her brother because they were similar in many ways including personality and music. While Hong Kong singer / actor Jacky Cheung (张学友) could be a perfect husband. Jacky is trustable and loves his wife and children very much which is impressive to Zhou Xun. As to Chen Kun, he is gentle and loves his mother very much. Zhou Xun said that such a man could be an ideal lover. Takeshi Kaneshiro is polite to everyone but talks little, so he can be a good friend.
Zhou Xun and Zhang Zi Yi. Pic on The Bazaar
Thanks to the movie The Banquet, Zhou Xun and Zhang Zi Yi became close friends although that was the first time they cooperated.
Now they have few opportunities to meet each other because both of them are very busy but their sentiment is still good.
Considering Zhang Zi Yi's official blog was opened on sohu.com, Xun sent her regards to Zi Yi: " Zi Yi, long time no see, congratulate you on your official blog was opened on Sohu.com. Best wishes for you!"
Original text: http://www.zhouxun.tv/bbs/viewth ... &extra=page%3D1