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A week in the company of Maggie Cheung, one of Asia's biggest film stars (and a Bay City Rollers fan), is a lens through which to appreciate the subtlety of Chinese cinema

By Mark Cousins   April 2007

I have just spent a week with Maggie Cheung. If you have heard of her, please feel free to swoon. If not, let me explain. Her ex-husband, the French filmmaker Olivier Assayas, said that until he met her he no longer believed that cinema made movie stars with auras. Since the late 1990s and, in particular, since Wong Kar-wai’s swoonably elegant In the Mood for Love (2000), critics have acclaimed Cheung as “an icon of modernity” and “the most fascinating woman in modern cinema.” When, for the first time in its history, the Cannes film festival used a photographic image…

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