Fans of Chinese cinema will understand that Western influences are often woven into Eastern features and that history is integral to their storytelling. With so much culture behind them, it’s easy to get lost in the possibilities for movie ideas – so it makes sense that Asia’s most famous novel now gets a look in for international audiences. Romance of Three Kingdoms, Luo Guanzhong’s 14th century novel, has remained a huge influence in China throughout history both as a historical and romantic tale but the film adaptation presents us with what’s expected out of China – action, and lots of it.

If Seth Rogen is dominating Hollywood screens as America’s everyman, Virginie Ledoyen could certainly be considered the French equivalent. Seen by Australian audiences in 2009 in A Pain in the Ass and in the upcoming My Friends, My Loves, Ledoyen is strengthening the symbolic modern French female with her roles – strong yet fragile. French films are often best at explaining that our desires drive us to act selfish and crazy but the need to live honestly justifies those choices. Whether you morally agree is up to you, but the understanding of how the simplest thing can spiral out of control is the basis of Ledoyen’s venture in Un baiser s’il vous plaît (Shall We Kiss?).

The protagonist is confused about love. His kooky but good-hearted friends dish out uncertain advice to him, usually mirroring their own love-related issues. They smoke, have sex and enjoy the simple things in life. If this formula sounds familiar then you can likely guess what I’m getting at… these are the elements of a quintessential French film, centering on romance and kinship. My Friends, My Loves (Mes amis, mes amours) goes about the task in a comedic way and initially suggests that love is all you need – from your best friend.

 The history of a national cinema often reflects the history of the country itself. Right now we can argue that Italy’s (general) media is almost monopolised through former Italian PM Silvio Berlusconi’s Finnivest empire, but cinema as a separate entity has passed through powers such as Hollywood within the last century to gain status as an important identifying medium. La Stanza Del Figlio (The Son’s Room) was made after the social comedy emergence of the 1980s – and although not a comedy stands as a prime example of Nanni Moretti’s work. Bringing commentary through satire to the mainstream, Moretti (among other directors) used the realities of life within his filming technique to express social consciousness within Italy.

The eyes of a child provide a unique perspective to a situation, usually surrounding views of innocence and make-believe. Italy once saw youth portrayed as the perfect ally to the Fascist regime, the key to vitality and modernity. That theme continued into the Leaden Years of the 70s as students protested against corruption of the Mafia – the innocent caught up in a guilty world. This is the core idea of Io non ho paura (I’m Not Scared), Gabriele Salvatores’ 2003 film that reflects much of his work – social commentary with the use of escapism. He raises questions of innocence and family secrets which reflect Italy’s reserved traditionalism while dealing with part of their ugly past.

South Africa’s Apartheid and its aftermath remain popular subjects in Australia’s literary mainstream today, widely accessible through the works of Bryce Courtenay and J.M. Coetzee. The latter, an Adelaide resident since 2002, now has his Booker Prize-winning novel Disgrace translated to the screen, an intriguing film from director Steve Jacobs which deals with animal cruelty, family relations and racial tension.