Out with the old traditional China and in with the new decadent China, from the Nineteen Teens to the Thirties. Chen Kaige, the director of Farewell My Concubine, engineers here a similarly fulsome, semihysterical "epic," in a hyperkinetic visual style suggestive variously of a taffy pull, a finger painting, a wind tunnel, a water slide, a mad scramble, a smeared windshield. There are some gorgeous images, but they are lost in the shuffle. With Gong Li and Leslie Cheung. (1997) — Duncan Shepherd
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