The names of the new investors are at least as important as the dollar amount, which Aereo says it will use to finance its expansion. Gordon Crawford has a gold-plated reputation among media investors: In his 41 years at Capital Research and Management, prior to his retirement in 2012, he helped to propel the growth of the pay TV industry with investments in companies including Time Warner, Liberty Media, News Corp, Comcast and DirecTV. He also played a major role in the development of Disney and Lionsgate — and, to his regret, the combination of AOL and Time Warner, which he helped to unwind when the merger soured. In the Series C funding, Crawford will be joined by China’s Himalaya Capital Management founded by Li Lu, a leader in the 1989 Tiananmen Square protests. (Michael Apted made a documentary of Lu’s memoir Moving The Mountain: My Life In China.) “Aereo experienced...
- 1/7/2014
- by DAVID LIEBERMAN, Financial Editor
- Deadline TV
Tinged with moments of utter heartbreak and regret, Yu Lik-wai's debut work as a director, "Love Will Tear Us Apart" is a small jewel, a visually confident examination of alienation and loneliness. Shifting among the stories of four immigrants trying to reconcile the incompatibility of their dreams with their actual experiences, Yu draws on hard, sharp images of contemporary Hong Kong since the end of British rule.
The story follows four characters adrift in an alien environment. Ah Ying (Wong Ning) is a new immigrant from a mainland province whose status as a marginalized outsider forces her into petty theft and prostitution. Ah Jian (Tony Leung) operates a desultory porn shop in Hong Kong's lower depths whose repeated failures with Hong Kong women drives him back together with Quin (Lu Li Ping), a shy, driven woman traumatized by her past tragedy of a promising dancing career ended by recurring foot injuries. The final lost soul in the quartet is Ah Chun (Rolf Chow), a morose loner who frequents Ah Jian's porn store.
Dramatically, not much happens, though Yu creates a credible social context through imagery and detail, chronicling the quiet desperation and sadness ensnaring its four characters. The Hong Kong Yu conjures up isn't as delirious and boldly stylized as fellow Hong Kong-based director Wong Kar-wai's, but he shares the latter's melancholy. The images, understated, direct and unpretentious, evoke the squalor of the porn district, the artificial brightness of a 7-11 and the instability of the city in a manner that underlines the characters' fears, desires and frustrations. It offers no pretty resolutions, attuned to mood, feeling and emotional temperament. In the last two years, Hong Kong cinema has been battered by the loss of its key directors, unlawful video pirating and an artistic stasis, but here is a bright, engaging new voice.
The story follows four characters adrift in an alien environment. Ah Ying (Wong Ning) is a new immigrant from a mainland province whose status as a marginalized outsider forces her into petty theft and prostitution. Ah Jian (Tony Leung) operates a desultory porn shop in Hong Kong's lower depths whose repeated failures with Hong Kong women drives him back together with Quin (Lu Li Ping), a shy, driven woman traumatized by her past tragedy of a promising dancing career ended by recurring foot injuries. The final lost soul in the quartet is Ah Chun (Rolf Chow), a morose loner who frequents Ah Jian's porn store.
Dramatically, not much happens, though Yu creates a credible social context through imagery and detail, chronicling the quiet desperation and sadness ensnaring its four characters. The Hong Kong Yu conjures up isn't as delirious and boldly stylized as fellow Hong Kong-based director Wong Kar-wai's, but he shares the latter's melancholy. The images, understated, direct and unpretentious, evoke the squalor of the porn district, the artificial brightness of a 7-11 and the instability of the city in a manner that underlines the characters' fears, desires and frustrations. It offers no pretty resolutions, attuned to mood, feeling and emotional temperament. In the last two years, Hong Kong cinema has been battered by the loss of its key directors, unlawful video pirating and an artistic stasis, but here is a bright, engaging new voice.
- 5/18/1999
- The Hollywood Reporter - Movie News
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