许鞍华

许鞍华执著于悲剧，她的影片总是在不断探讨人与悲剧命运的关系。

Ann Hui 's films probe into the relationship between man being and his tragic destiny .

香港电影导演许鞍华在她的恐怖片新作剪去一场鬼戏。

Ann Hui , a Hong Kong moviemaker , has cut a ghost scene from her new thriller .

许鞍华和马俪文分别为香港新浪潮电影导演和大陆第六代导演的代表人物。

Anhua Xu and Liwen Ma are recognized as representative figures in Hong Kong " New wave cinema " field and the sixth-generation mainland directors .

许鞍华作为一位女性导演，其独特的女性视角使其在对女性形象的塑造上表现出较为独特的一面。

Ann Hui as a female director , the unique female perspective on it in the shape of the female image to show the unique side .

现在她又去演郁闷的通俗剧情，在许鞍华的新片《玉观音》里饰演一个饱受爱情与荣誉相互冲突的女警。

Now she 's gone to broody melodrama , as a cop conflicted by love and honor in Ann Hui 's new movie Jade Goddess of Mercy .

许鞍华执导的电影《桃姐》上周在威尼斯电影节首映。在这部影片中，她根据电影制片人李恩霖的真实故事来思考人的衰老经历。

In'A Simple Life , 'which held its premiere at the Venice Film Festival last week , she contemplates aging based on the true story of the film 's producer , Roger Lee .

正文共分四章，第一章呈现了许鞍华和马俪文电影中的弱势群体表现，并从弱势群体的存在、与弱势群体电影的关系等角度总结了两位导演热衷表现弱势群体的原因。

The main body is divided into four chapters . The first chapter discusses the vulnerable groups and vulnerable groups movies , and sorted out the performance of vulnerable groups in the movies .

香港导演许鞍华（曾执导过《桃姐》）的电影可能没有同一地区其他当代导演的那么华丽，比如徐克和吴宇森。

The films of the Hong Kong director Ann Hui ( " A Simple Life " ) can be less flashy than those of her regional contemporaries , like Tsui Hark and John Woo .

不过，最有分量的是方兰的转变，体现在周迅简洁冷静的表演中，给这个故事增添了一种自然的女权主义色彩，再次确立了许鞍华作为中国电影界瑰宝级人物的地位。

But it 's Fang 's transformation , embodied by Ms. Zhou 's lean , cool authority , that carries the most weight , lending the proceedings an unforced feminist dimension , and reaffirming Ms. Hui 's status as one of China 's cinematic treasures .