Yin ru chen yan

Immensely ethereal scenes paired with a gut wrenching story. The story unravels like a cloth covering the true nature of a persons intentions slowly, but with an impact so strong, making you doubt, and question with great dissapointment the nature of the human behaviour. And in all of the chaos of greed two beacons shine throughout the movie...the two protagonists, the outcasts of the rotten society they've been brought up in...highlight the outmost beauty in human relationship. Youre always followed and reminded of the courage and the absoute humanitarian spirit of the couple and it makes you complete...Complete, for you need it if you want to make it to the ending.

By far the most humanitarian movie ive seen in a while.

A pushover obsessed with working the land, an invalid woman who has only known abuse all her life and a poor donkey come together in a harsh environment where big landowners farm out land in exchange for a year's worth of crops that they buy for next to nothing. Everybody takes advantage or everybody, even the poor despise those poorer or the meek who do not fight back.

What land is this that can grow such rich crops next to sand dunes?

It's a precious insight into how some people still live today. And how sometimes, maybe all too often, family does not raise you up, but drags you down and takes advantage of your kindness.

It's a slow movie that shows the sad reality of living in these remote communities in remote areas, underdeveloped, undereducated, malnourished, effectively abused and manipulated. That initiative to compensate for demolishing old houses in order to make villages more appealing sounds preposterous. It does not paint a pretty picture of contemporary rural China. Not surprisingly, it got pulled from circulation despite winning a bunch of national and international awards.

I love how he cares for her and how they become close. Except for that one time. But it was so obvious she was becoming thinner and thinner and more hunched over. His obsession with work reminds me of a lot of people in my grandma's generation. Working themselves to the ground. Return to dust.

A couple are matched together for their families' convenience - abused and sickly woman, and put upon, hard-working man. Together they find a measure of happiness and belonging that was missing in their lives.

The movie is beautifully shot, with picturesque landscapes and the images of the shifting seasons. It is a slow film - really a slice of life. The actors played their characters very well.

Beyond the story, the movie left me with a sense of the difficulties of life in rural areas.

A review of the translations of the title of the beautiful film by the Chinese director Ruijun Li can already be an indication of how the film was distributed and received in the various cinema markets. Using Google Translate I found out that the exact translation of the Chinese title would be 'Cloud of Dust'. In the English market and at film festivals it was distributed with the title with biblical resonance 'Return to Dust'. The French, however, chose the title 'Le retour des hirondelles', while the Italians distributed it as 'Terra e polvere'. Finally, in Israel, the title chosen for distribution in Hebrew is 'habait shelanu' ('our house'). In China the film enjoyed quite a lot of success until the authorities decided to stop distributing it in theaters and on streaming, probably considering that the image of the Chinese village, the radical transformations that the traditional society goes through and their impact on the common people is too bleak. The film thus joins a long collection of good films, some even masterpieces, which were and are made in countries where strict censorship operates, and which - without directly criticizing the political regime or the authorities - are too uncomfortable in their content to be distributed to their own audiences. We have seen such films in the Soviet Union or communist Czechoslovakia, in Iran and now it is China's turn. The consolation is that if historical precedent is anything to go by, years from now a film like this will have a chance to be rediscovered and appreciated for its worth, not only artistically but also as a document of the era portrayed on screen.

'Return to Dust' is first and foremost a love story, one of the most unusual, one that perhaps should never have happened. The story takes place in a Chinese village from which those who can leave do it to seek their fortune in the city, and those who remain struggle with the rapacity of the capitalists and the bureaucracy of the authorities. Guying is a woman past her prime, she once suffered an accident that left her crippled and unable to bear children. Youtie is the poorest man in the village, he has only a donkey and his hands to earn a living. The families decide to marry them off - something related to the traditional marriage order in the families. Man and woman find themselves together and begin to discover each other, share their past traumas and sufferings, work to survive and bring joy to each other. Hard work brings them, if not prosperity, at least the ability to withstand the blows of fate and the malice of those around them. Three times the houses in which they dwell, one built with their own hands, will turn to dust. The typology of the 'stupidly good' character to which they both belong is developed in the direction of the affection of one towards the other.

Ruijun Li also wrote the screenplay for this film, and the production team was local, recruited from among his villagers and family members, in the very places where the story takes place. Many of the actors are amateurs and play their own lives on screen. Amazing how this locally made film manages to bring up with delicacy and an aesthetic approach that is at the same time realistic and expressive some major themes, significant for the whole of China and even beyond its borders: the hardships faced by the peasant class in a rapidly industrializing society, the contrast between economic capitalism and the traditional way of life, the lack of any social safety net to protect the most disadvantaged, the place of women in the family and society. But it is the personal story that dominates Ruijun Li's film. Is love possible in a system where matrimonial relationships are imposed? The film is an elegy for a disappearing world, but - with all the combination of dark themes and all the tragic events that happen on the screen - it is unexpectedly tonic and optimistic, and this is primarily due to the bright, simple and beautiful characters of the two protagonists. I must mention the names of the actors: Renlin Wu and Hai-Qing. Beautifully filmed and well acted, 'Return to Dust' is one of the best Chinese films I've seen in years. It's also very different from all the others, a proof that Chinese cinema can successfully tackle genres other than heroic historical epics or martial arts action films.

The government of China killed this movie in September 2022. It removed Return to Dust from all streaming platforms, deleted comments on the Weibo social media platform, and outlawed a hashtag for the movie. Possible reasons:

* The protagonist is pretty much compelled to give his blood of a rare type in order to save a local exploiting businessman. The protagonist does not resist, but his wife tells him don't do it.

* The protagonist couple are hounded out of one home after another so that housing developers can make money on land cleared by demolishing the home.

* In a supposedly socialist country, nearly all relatives and villagers treat the protagonist - a man content to be a farmer - and his wife - a woman with medical problems leaving her unable to have a child - with contempt. This is socialist morality and culture? However, we foreign viewers do not know whether this depiction is accurate for rural China as a whole.

In short, Return to Dust shows how much capitalist scramble for riches there is in China today, despite the mouthings of the "Communist" Party of China. The protagonist couple are collateral damage as far as the government is concerned.

Return to Dust is a humanist movie. Its strength is that it puts the fate of the oppressed couple in the viewer's heart. In part this happens when the movie immerses you in the rhythm of their farm labor. The tools are primitive, the toil is backbreaking, and the cycle of seasons is immortal.

The weakness is that the only social change depicted is an onslaught of capitalist exploitation. In reality, the peasants backed the Communist Party when it fought for liberation from landlord exploitation and foreign, especially Japanese, oppression. The peasants heartily backed Communist initiatives to improve their agriculture by cooperative, egalitarian, modernizing methods from the early 1950s to the mid-1970s. If you keep this real history in mind while you watch Return to Dust, it deepens the tragedy.