What are some of the movies that show independent Chinese movie aesthetics?

Zhang Yimou and Wang Kar-wai's movie color scheme has always been very like, and then personally feel Zhang Yimou more like a big scene , Wang Kar-wai delicate some, subjective, Wang Kar-wai's every movie feel is the Chinese film aesthetics this study, the last confession I Leslie, the full beauty.

It should be "Perfume", I remember the first time I watched it, I was shocked by the picture, especially at the end of the part of the perfume compulsion by the male lead modulation of the people crazy ...... (here omit N words), it is really too beautiful, there is no feeling of pornography, only beauty. Forgive my poor language can't really describe that beauty.

Yay for Wesson Anderson movies. There's also The Wicked Woman, The Godfather, etc. I can't think of any off the top of my head. I like "White Deer Plain" and "Red Sorghum" the most, it's a great movie! Actually I don't know that much specialized knowledge, I just feel that they are really awesome when I am watching the movie!

Formally, all the sample movies represent unique Chinese film aesthetics, and stylistically, the fourth generation of directors has significant characteristics such as Huang Shuqin's "People - Ghosts - Love" and Wu Yigong's "Old Stories of the South of the City" and "Night and Rain in the Bashan Mountains", the fourth generation of directors has a deep theoretical foundation of the Soviet school of cinema and also takes into account humanistic concerns in the middle of the crevices, as compared to the fifth generation of directors' immature pretense and the sixth generation's unsolid basic skills, the fourth generation of directors has a strong foundation of Soviet film theory. Compared to the immature pretentiousness of the fifth generation of directors and the unsubstantial fundamentals of the sixth generation, the fourth generation of directors should best represent the aesthetics of Chinese cinema.

Feimu's black-and-white "Spring in a Small Town" is fascinating for its unique black-and-white texture. The costumes of the characters and the language of the camera show the unique Chinese aesthetics and braid recognition. Fei, Tian, two directors are extremely expressive of their respective black and white, color film of the long, undoubtedly fully demonstrated the traditional aesthetics of Chinese cinema.