Zhao Liang’s film portrays Aids sufferers of both genders; they are all people with very different biographies. As if it wasn’t bad enough being infected by HIV, their suffering is compounded by the fact that in the People’s Republic of China the disease is hushed up and people living with Aids are ostracised. In China, the public at large knows very little about the disease and most people associate the virus with promiscuity. This fear of discrimination forces most patients to hide the fact that they are positive. The Aids sufferers in Zhao Liang’s film were willing to share their experiences with him. The filmmaker was able to make contact with them via internet support groups; he also visited children with Aids at a ‘red ribbon’ school; but above all, he talked to Aids sufferers during the making of Gu Changwei’s film. It is their presence which lends Changwei’s film its particular authenticity.
This time around Edmund and Lucy Pevensie, along with their pesky cousin Eustace Scrubb find themselves swallowed into a painting and on to a fantastic Narnian ship headed for the very edges of the world.
Alice, an unpretentious and individual 19-year-old, is betrothed to a dunce of an English nobleman. At her engagement party, she escapes the crowd to consider whether to go through with the marriage and falls down a hole in the garden after spotting an unusual rabbit.
With the world now aware of his dual life as the armored superhero Iron Man, billionaire inventor Tony Stark faces pressure from the government, the press, and the public to share his technology with the military.