Golden Horse: Why regional colts are shining in China-less field

South-east Asian films are redefining what Chinese-language cinema means with their distinct sense of 'Chineseness'.

- Yip Wai Yee

More Southeast Asian films have gained prominence at the prestigious Golden Horse Awards in Taipei in recent years but not everyone is convinced.

Detractors believe that they are there only to make up the numbers, especially after China in 2019 banned its movie industry from participating in the event amid political tensions with Taiwan.

After all, they questioned, how can the long-running award still be dubbed the "Oscars of Chinese-language cinema" if China the second-largest film market in the world is no longer in the picture?

Chinese state media outlet Global Times famously dismissed the Golden Horse as a "poor regional film award" in a viral 2021 article a far cry from its former status as "one of the most influential and representative" events in the Chinese-language film industry.

"Without the participation of mainland Chinese films, it's just a self-entertaining regional festival," a Beijing Film Academy scholar was quoted as saying.

At the same time, Chinese nationalists have heaped scepticism on the growing number of Southeast Asian offerings at the event, given that the region's film industry is less established. Are they now being spotlighted only because of the lack of major Chinese film entries?

SOUTHEAST ASIAN FILMS MAKING WAVES

At the recently concluded awards show at the Taipei Music Centre on Nov 22, for instance, Malaysia stole the show with multiple wins.

Mother Bhumi, directed by Kedah-native filmmaker Chong Keat Aun, took home prizes for Best Original Film Song (Penny Tai), Best Cinematography (Leung Ming Kai) as well as Best Leading Actress (Chinese star Fan Bingbing). Another Malaysian film, The Waves Will Carry Us, directed by Lau Kek Huat, won the award for Best Supporting Actress (Vera Chen).