Marking Jia’s first state-approved film, The World immediately bears the visual imprint of its “official”, non-underground status in its highly polished mise-en-scène: the elaborate pageantry of a flamboyant stage spectacle, ornate costuming, original electronica background compositions, and whimsical, interstitial animation sequences. Following the lives of a group of young adults working at an Epcot Center-like […]
Tag: Chinese Cinema
Unknown Pleasures, 2002
An early scene in Unknown Pleasures shows a young man named Xiao Ji (Wu Qiong) riding his motorcycle on the way to town and, upon reaching the back room of a nondescript building, unexpectedly catches the curious sight of a man dressed in leisure clothes as he passionately sings an operatic melody – complete with […]
Platform, 2000
Platform opens to an appropriately temporally indeterminate sight of a bustling, crowded backstage of a provincial theater as a group of itinerant performers await the commencement of their traveling cultural education program that equally extols the country’s technological and social progress made possible by the Communist Revolution and celebrates its principal architect, Chairman Mao Zedong. […]
Everlasting Regret, 2005
Chronicling the life and romantic trajectory of a postwar beauty queen named Qiyao (Sammi Cheng) over the span of forty years, Stanley Kwan’s epic period drama, Everlasting Regret is a film about unrealized ambition and missed opportunity in more ways than one. The film cuts broad, elliptical swaths across Chinese post-revolution history through Qiyao’s childhood […]
Kekexili: Mountain Patrol, 2004
In an early episode in Kekexili: Mountain Patrol, retired army officer turned volunteer poacher tracking commander Ritai (Duobuji) explains to a Beijing reporter Ga Yu (Zhang Lei) that according to custom, a Tibetan native would point his knife inward when cutting his meal at the dinner table. It is a seemingly anecdotal comment on cultural […]
Summer Palace, 2006
Recalling the resigned regret of Lee Chang-dong’s Peppermint Candy (albeit less potent) and Stanley Kwan’s Everlasting Regret in its elliptical intersection of personal and (implicitly political) national history, Lou Ye’s sprawling epic, Summer Palace is an adept and thoughful, if largely perfunctory and tenuous survey of late twentieth century contemporary history from the parallel perspectives […]