Fuochi d'artificio in pieno giorno

The plot is that two cops who have had their careers ruined, by a case that went horribly wrong, decide to reunite. This they do after a murder that has striking similarities to the one that floored them happens again.

Zhang Zili has lost everything, his wife, the job he loved and has turned to the bottle as he goes through the motions as an underpaid security guard. Then he gets the chance to solve the case that is his nemesis. This is not a police procedural though; this has elements of the heart, base existentialism and even dark humour.

This is from director and writer Yi'nan Diao who brought us 'Night Train' and 'Uniform'. He comes from a very industrialised part of China and this is generally reflected in his films - and indeed it is here. Also the loneliness that comes from the isolating capacity of industrialised living. This though is a confident and assured piece of film making. Even when I thought a scene or two had stayed going a tad too long, he just reveals why and all of a sudden you are right back on track. In Mandarin and running to around 100 minutes this will appeal to those who appreciate modern Chinese cinema and who like a bit of dark brooding to their crime thrillers.

This 2014 Golden Berlin Bear winner (with a rare second Silver Berlin Bear award of BEST ACTOR for Fan Liao) is Chinese director Yi'nan Diao's third feature, and his first to be shown in cinemas and harvested over one hundred million RMB, roughly equivalent to 16 million dollars, thanks to the international accolades it received. Its original title can be translated verbatim as "White Day Fireworks", it is the name of a nightclub which would be revealed as a crucial thread to a murder case, furthermore Diao arranges a literal daytime firework show to climax the film in the coda, meanwhile, its official English title: Black Coal, Thin Ice, betrays the locations which relation all the murder cases during a five-year span.

The film starts in 1999, in an unspecified city in China's North-east province Heilongjiang, Zhang (Liao) is a recently-divorced policeman, during a fresh case of a dismembered body scattered in sundry collieries where an I.D. card indicates the dead is Liang (Xuebing Wang), but due to his negligence, two fellow policemen are killed in operation while Zhang is also wounded. After that, the time jumps to 2004, now Zhang is a life-beaten drunkard and works as a security guard, two new dismembered bodies have been found, all link back to Liang's wife Wu (Gwei), whose mysterious mien attracts Zhang, he embarks on a personal investigation to follow her, strike up a conversation with her in the dry-cleaner where she works, and eventually ask her out for an ice-skating date. But at the same time, danger is lurking around him too, is Liang really dead? Or is Wu as innocent as she looks? Can all the mysteries be brought into daylight in the end or is there another lie involved? Diao smugly leaves an semi-opening end with many spurious clues (e.g. the cremains Wu buried under the tree Vs. her apparent lie of discarding it over the sea during the inquiry), to prompt viewers for disparate interpretations.

This film is to a great extent inscribed as an art-house fare with its lurid background or foreground colour embedding in almost every scene, the visual palette is meticulously chosen and also overtly, Diao is a faithful apprentice of symbolism, from a battered ladybug on the bedsheets in the opening sequence, to an abrupt introduction of a deserted horse left by junkmen, until the firework finale reaches the hallmarks of its veiled fatalism pretentiousness buried in his not-so-justifiable script, there must be a more plausible reason behind a redemption by right of admitting a murder one might not execute, it unfortunately gives an impression of a desperate trick to glaze over the banality of the story, to romanticize the damsel-in-distress reverie.

The whole story is a dancing-on-the-edge between a sex-driven anti-hero and a irresolute femme fatale, with a jarring red herring which leads to nowhere. But the two leads are giving fantastic performances, Fan Liao breathes out the irascible mentality stinkingly inflicted on a non-starter who clings to the last straw and strives to feel the ardor of living again. While Lun Mei Gwei from Taiwan, may seem to be an odd choice for a North-east girl, heedfully, she doesn't have many lines to give away her southern accent, instead, relies on her body language and facial expressions, her air of mystique is the most enticing feature entraps audience even in the film's banalest moment.

Winning over the likes of BOYHOOD (2014, 8/10) and THE GRAND BUDAPEST HOTEL (2014, 8/10) in Berlin inevitably becomes an over-achievement for this intense crime-thriller, but put it among its Chinese peers of the same year, the film can excel most of them hands down, as one of the must-see from the over-ballooning market where ingrainedly burdened with shoddy soil damages its own commodities.

It seems that, every few years, there are one or two Chinese films that, despite being slow-paced, dark, and lacking A-list stars, somehow manage to attract a large domestic audience without being controversial enough to risk complete censorship. In 2014, the only example I have seen so far is this, Black Coal, Thin Ice. The reason for its domestic success is presumably because of its awards at the Berlin Film Festival.

As the story unfolds, despite being based around a series of murders, the film has a pace more similar to an art-house film than a crime- thriller. A couple of scenes were impressively disturbing, made even more so by the slow paced, subtle atmosphere surrounding them.

The setting of a polluted, dark, seedy city in a long Heilongjiang winter seems perfect for the noir tone of the film. A subtle musical score, with some dissonant strings combined with (terrible) Chinese pop songs (intra-diegetic) creates a fantastic atmosphere. The closest thing to it I have seen is Suzhou River, which, now I come to think of it, has a lot of similar motifs (I haven't seen Diao Yinan's previous films).

The acting performances were all impressive, the female lead (played by Taiwanese Gwei/Gui Lun-Mei) seemed suitably out of place in the Far Northeast of Mainland China. Liao Fan's male lead, and Wang Xuebing's character, were both impressive.

Despite a bit of dark humour that made me giggle, Black Coal, Thin Ice is a relentlessly grim and slightly disturbing film. I was impressed that it wasn't (more) censored in China, as it paints a pretty depressing picture. Despite being enthralled by the film, I won't be booking a flight to Heilongjiang any time soon.

A Chinese crime drama with a good storyline and convincing acting. Low key style with a mix of random everyday events and a police investigation. Filmed in a realist style with some surreal moments.

A series of murders, whose hallmarks are numerous body parts being found around the Province, perplex detectives and leave them with a failed investigation. A former member of the force, sacked for incompetence, takes the initiative and follows a lead.

Slow paced but gripping. We are given insights into the characters' lives, motivations and idiosyncrasies alongside their roles in the unfolding world of the murder investigation. What it lacks in action is made up for in a range of intriguing characters and quirky events.

There are definitely some impressive technical flourishes here. The lighting and the colors used are gorgeous, and really do highlight a lot of the film's atmosphere, which is the other good thing about it. It's able to achieve atmosphere in a rather surprising way, but it's just too bad hat that atmosphere is wasted and doesn't really highlight much. The acting is decent, but the story and the screenplay leave a lot to be desired. The characters just aren't developed all that well, and just are so, so dull. The film's sense of pacing and development are non- existent. I don't think this is anything worthwhile, although I'm sure many will like it just fine.