I'm loving the Asian cinema lately and it's really been helping fill the void I feel in my life lately.
I was hoping being could drop their top 10 top 5 all time personal favorite lists here so I can find more recommendations!
Thanks ahead of time!
It was great. Completely unexpected and beautiful. The sets ,fights/duels, scenarios everything was stunning. I loved how the colours of the set/background convey the feelings the scenes speak of.
This is film that demonstrates how visual storytelling can be just as powerful as dialogue. Zhang Yimou's expressive use of color gives each retelling its own emotional identity, allowing the visuals to communicate ideas that words alone could not. The result is a film of extraordinary elegance, where artistic ambition and emotional resonance exist in perfect balance, leaving an impression that endures well beyond its final frame.
Have u seen thirst
I really adore this movie, and I'm hoping to understand more about it, beyond just seeing these charming characters find their way to being with each other. Maggie Cheung and Leon Lai are really wonderful with the way they express themselves, but what really fascinated me were how their characters - Li Qiao, and Li Xiao-Jun, came from specific parts of mainland China. Li Qiao came from Guangzhou, which she says has similarities to Hong Kong. Whereas Li Xiao-Jun was a northerner, who seems simpler in nature, contrasting Li Qiao's (and perhaps Hong Kong's?) more financially-centered goals to build wealth.
They both seem to find a deep connection within Teresa Teng's music, and Li Qiao, and other immigrants from the mainland hide their ties to avoid being othered. I could tell that within this more capitalist driven environment, Teresa Teng's songs really stood out as sincere, and sweet. There are some gaps in my understanding, since I am not from Hong Kong or China, and I'd really like to understand the deeper aspects of this story. Was there meant to be a parallel between the complicated turns in their romance, and Hong Kong & mainland China? I know certain directors like Wong Kar-Wai, and Hou Hsiao-hsien have done this in their movies and their countries, which is why I noticed it.
I'm also wondering if there was any significance in the US being the setting of the last act, given it might be more capitalist in nature compared to so many other parts of the world. It's interesting how something simple yet good like Teresa Teng's music playing on the news, is what ended up uniting them, even though the chances in such an environment are low. Really hoping to hear more of everyone's thoughts about this! Thanks in advance :)
Not gonna lie...I m not ok
Jackie Chan had a massively successful and long run in Hollywood, but now almost exclusively makes movies in China/Hong Kong. Jet Li popped for a while but is also not in Hollywood anymore and John Woo’s stint was short and his recent return wasn’t great, or even good. Iko Uwais pops up here and there but only in supporting roles and usually as a villain. Hiroyuki Sanada seems to be a constant in American movies and TV, but isn’t a household name. You get the idea.
I bought a dvd copy of Raise the Red Lantern off eBay but the subtitles weren't the best so I'm returning it. Any chance of finding a new copy out in the world? Like is criterion going to do anything with it?
I went into Tokyo Drifter expecting a standard yakuza film, and in terms of story, that's pretty much what it is. The plot is simple—a loyal gangster forced into exile while betrayal closes in from every direction—but that's not what makes this movie unforgettable. Director Seijun Suzuki takes that basic premise and turns it into one of the most visually striking films I've ever seen.
Every frame feels like a piece of art. The brightly colored sets, the bold lighting, the stylish costumes, and the unexpected musical numbers create an atmosphere that's unlike any crime film I've watched.
The ending also fits the film perfectly. Tetsu's loyalty ultimately costs him everything, and instead of giving us a happy reunion, the film accepts that some people are destined to walk alone. Tokyo Drifter may not have the most complex story, but it proves that style isn't just about looking cool—it's about using every element of filmmaking to create something unforgettable. Even 60 years later, it still feels fresh.
Infernal Affairs (2002) is one of those crime thrillers that never lets you get comfortable. Both Inspector Wong and Sam are incredibly smart, and watching them try to outplay each other feels like a high-stakes game of chess. The camera work is excellent too, making even simple conversations feel tense and important.
What I liked most was Andy Lau's character. He isn't written as a hero or a villain—he's just a selfish man trying to survive, making whatever decision benefits him the most. On the other hand, Yan stays loyal to his duty as a cop until the very end, which makes his fate hit even harder. Instead of rewarding the good guy, the film chooses a much more realistic ending.
The suspense never lets up. Right until the final moments, I had no idea who would come out alive and who would lose the game. Infernal Affairs isn't just about cops and gangsters—it's about identity, betrayal, and the cost of living a double life. A tense, intelligent thriller with a climax that sticks with you long after it's over.
Between last year and this year I’ve seen Throne of Blood, Ikiru, Ran, and High & Low, and Seven Samurai all for the first time, and still have quite a few to watch. But my favorite is still probably Yojimbo, which was the first Kurosawa film I saw and has forever stuck with me.
What is your favorite of his films, and what do you think is his most under appreciated film?
I feel like for a long time the answer was easily Dreams (which I haven’t seen) but maybe that’s changed now.
When it comes to EAST (Asian Cinema), we have some amazing directors like Satyajit Ray (India), Abbas Kiarostami (Iran), Wong Kar-wai (China) & Akira Kurosawa (Japan). Why haven't they won any Oscars?
Only Satyajit Ray (1992) & Akira Kurosawa (1990) received the Academy Honorary Award. They all have so many great movies.
I went into this expecting a straightforward love story. In a way, it was—but it also wasn't. I thought the protagonist would fall in love and fight through hell to be with the female lead. Instead, the film took a far more tragic and unpredictable path, and I'm genuinely glad it did. It refuses to follow the obvious route, making every choice feel more meaningful and every consequence more painful.
The action is gritty, realistic, and stylish without ever feeling exaggerated. As someone who's used to Western action films, I especially appreciated how the movie portrayed the rarity of firearms in South Korea at the time. Even many of the violent gangsters and notorious side characters don't casually carry guns; they're forced to rely on fists, knives, and improvised weapons, while firearms are mostly reserved for professional hitmen. That small detail makes every shootout feel significant instead of routine.
Overall, A Bittersweet Life is visually stunning, soaked in blood, and driven by quiet emotion rather than loud spectacle. Its blend of brutal violence and elegant cinematography creates an unforgettable atmosphere. By the time the bittersweet ending arrives, all the pain and bloodshed make its emotional impact hit even harder. It's the kind of film that lingers long after the credits roll.
I'm here to recommend some films here and also to ask for recommendations.
I've seen a handful of movies set in Japan at the end of the 19th and start of the 20th century. Many of these show the Japanese countryside, filmed on location, and are about the struggles of ordinary people in a rapidly modernizing world. All of these movies have gorgeous cinematography.
Some of the movies I really enjoyed:
I recommend all of these films, and would like to ask if anyone knows any similar films.
New World the kind of gangster movie that reminds you tension doesn't need nonstop action. Absolutely nailed it as both the writer and director. Every conversation feels important, every betrayal hits harder than the last, and the script trusts you enough to connect the dots instead of spoon-feeding everything. It's a slow burn, but one that keeps paying off.
What really makes this film stand out is how human everyone feels. Nobody is purely good or evil—everyone's just trying to survive in a world where loyalty has an expiration date. The writing gives every major character a reason for their choices, and the direction never wastes a scene. Even the quiet moments are packed with tension, which is something a lot of crime films struggle to pull off.
And that ending... no forced happy ending, no last-minute miracle, just the natural outcome of every choice that came before it. It's ruthless, tragic, and somehow feels like the only way the story could've ended. By the time the credits roll, you're left wondering whether anyone actually won. That's the kind of climax that sticks with you, and it's why New World is still one of the most realistic Korean crime films ever made.