TAIPEI (Reuters) – Films from China about the COVID pandemic and a gay romance won major prizes on Saturday in Taiwan at the Golden Horse awards, the Chinese-speaking world’s version of the Oscars.
Unencumbered by the strict censorship of China, Taiwan’s Golden Horse awards typically attract a diverse selection of films.
Chinese director Lou Ye’s docu-drama about COVID lockdowns in China, An Unfinished Film, won for best film and for best director, awards accepted by his wife Ma Yingli as he is in Japan for work.
“We all went through that difficult period together,” Lou said in a message Ma read out, thanking those who worked on the film.
Lou has had numerous run-ins with Chinese censors, including with his sexually graphic 2006 film “Summer Palace”.
Meanwhile the black-and-white gay drama “Bel Ami” by Chinese director Geng Jun, though produced in France, won for best leading actor, best cinematography and best editing.
While same sex relations are not illegal in China, same sex marriage is not recognised, and the government has been cracking down on activists and depictions of LGBTQ+ people in the media.
Geng, accepting the award on behalf of friend and best leading actor winner Zhang Zhiyong, said Zhang had not let an injury from a childhood accident that left him partially disabled deter him.
“He was not confident at the beginning and always wanted the camera to avoid his injured eyes and hands,” Geng said.
“I told him not to avoid it, never avoid it. I said this is your unique sense of reality and characteristic and you are a most unique actor.”
China, which claims democratically governed Taiwan as its own territory, in 2019 blocked its movie industry from officially participating in the Golden Horse Awards, which take place annually in Taiwan.
Beijing’s move followed uproar in 2018 in China and among Chinese stars at the awards ceremony after Taiwanese director Fu Yue made comments in support of Taiwan’s formal independence, a red line for Beijing.
But Chinese films, generally either banned in their home country or with no hope of a public release there, continue to enter the awards.
(Reporting by Fabian Hamacher, Angie Teo and Ann Wang; Writing by Ben Blanchard; Editing by Giles Elgood)
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