Filmmaker Wang Xiaoshuai joins Asia Society on March 22nd and 23rd for a free talk and the New York premiere of his first two films in a time-spanning trilogy examining the emotional fallout of 20th century Chinese history.

So Long, My Son
Wang Xiaoshuai, China, 2019, 185 min.
In Mandarin with English subtitles.

So Long My Son traces the lives of two families over three decades of social, political and human upheaval in China. Following the loss of a child in a tragic accident, their paths separate. Destinies ebb and flow, and fortunes are transformed under the impact of a country’s changing face. Yet even as their lives diverge, a common search for truth and reconciliation around the tragedy remains. But sometimes it can take a lifetime to say farewell. So Long My Son chronicles people and a society in full transformation - in which human relationships and the tumultuous evolution of a nation are inevitably and inextricably intertwined (The Match Factory). 
Introduced by Wang Xiaoshuai.
 

About the filmmaker:

Wang Xiaoshuai was a pioneer figure of Chinese independent films in the 1990s, and is one of very few masters who remains true to his art in spite of rampant commercialism in today's Chinese film market. By virtue of strong personal style, deep concern for humanity, and diligent independent filmmaking, Wang's works have competed in Cannes Film Festival four times (twice in Un Certain Regard, twice in main Competition), twice in the Berlinale, and also at Venice and San Sebastian film festivals. He has been appointed chevalier of the Ordre des Arts et des Lettres by the French Minister of Culture for his artistic accomplishments. Wang has received many distinguished honors notably the 51th Berlinale Silver Bear Grand Jury Prize for Beijing Bicycle (2001), the Jury Prize for Shanghai Dreams (2005) in the Cannes Main Competition and the second Berlinale Silver Bear for Best Screenplay for In Love We Trust (2008) (The Match Factory).

A limited amount of complimentary tickets will be available to NYC college students with ID at the box office on the day of the screening.

—Devika Girish, NY Times