“I think it’s better for me not to comment too much on the situation itself because this film is invested by Chinese companies and they have allowed us to shoot this movie with immense moral complexity and it has passed censorship with very minor cuts,” Hui said.
Hong Kong democracy activist Joshua Wong and internet users in Taiwan and Thailand are among those who promoted hashtags “#BoycottMulan” and “#BanMulan” on Twitter, following this month’s launch of the film on Disney’s streaming platform.
“The dominant rhetoric from western countries goes beyond the humanitarian principle to emphasize economic self-interest,” she wrote. “They paint a caricature of a population where Hong Kong’s poor and disenfranchised are never part of the picture, where a life’s worth is defined by its productivity.”
Tracking the very gentle wising-up of a naive, wide-eyed ingenue over the course of a few eventful pre-war years, the film begins as Weilong (Ma), a Shanghainese student come to Hong Kong to finish her education away from her stifling father’s influence, arrives at the gates of a palatial villa. She is met by two […]
Asked about the reaction to the film’s Xinjiang shooting, foreign ministry spokesman Zhao Lijian restated Beijing’s denial of the existence of re-education camps in the region, calling facilities there vocational and educational institutions and accusing anti-China forces of smearing its Xinjiang policy.
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Isaac Stone Fish, a senior fellow at the Asia Society, said the film was now “arguably Disney’s most problematic movie” since “Song of the South” — a 1946 glorification of antebellum plantation life that the company has since pulled.
“It has given me an education and a scholarship to study in London. It has given me my life experiences. And my chances to work and find fulfillment. I treasure even my sufferings there and all those crazy cool people. And now I will go home and try to help the younger filmmakers so that […]
As the Chinese Communist Party continues to dismantle the remnants of Hong Kong’s democratic liberties, its residents will begin to seek freedom abroad over an ever-intrusive surveillance state. Beijing, like the past Soviet leaders, is embarrassed by the departure of their citizens and fearful of the truths they can bear witness to. Chinese leaders today […]
One social media user wrote: “Mulan specifically thank the publicity department of CPC Xinjiang uyghur autonomous region committee in the credits. You know, the place where the cultural genocide is happening. They filmed extensively in Xinjiang, which the subtitles call ‘Northwest China’.”