by Simon Ramshaw
There is a moment in Jia Zhangke’s “Platform” where an argument between a cynic and an idealist creates an unexpected glimpse of a bright future. One of the film’s central characters Cui Mingliang (Wang Hongwei) declares “the four modernisations: Industry, Agriculture, Defense and Science” will be embraced by China in the year 2000, and it’s no mistake that this statement is a bitterly ironic one for his little town. Taking place between 1979 and 1989, Jia’s second feature film looks at the fallout of the death of Mao Zedong and the formation of the People’s Republic of China, which leaves the performers of provincial Communist theatre troupes without the purpose they once had in Mao’s lifetime. Their stage plays are state-sanctioned propaganda that young and old alike attend in their droves, yet there is the pervasive feeling that this nostalgia will take them nowhere.
There is a moment in Jia Zhangke’s “Platform” where an argument between a cynic and an idealist creates an unexpected glimpse of a bright future. One of the film’s central characters Cui Mingliang (Wang Hongwei) declares “the four modernisations: Industry, Agriculture, Defense and Science” will be embraced by China in the year 2000, and it’s no mistake that this statement is a bitterly ironic one for his little town. Taking place between 1979 and 1989, Jia’s second feature film looks at the fallout of the death of Mao Zedong and the formation of the People’s Republic of China, which leaves the performers of provincial Communist theatre troupes without the purpose they once had in Mao’s lifetime. Their stage plays are state-sanctioned propaganda that young and old alike attend in their droves, yet there is the pervasive feeling that this nostalgia will take them nowhere.
- 25/01/2023
- por Guest Writer
- AsianMoviePulse
Mountains May Depart
Written by Jia Zhangke
Directed by Jia Zhangke
China/Japan/France, 2015
Following the brilliant A Touch of Sin, auteur and Chinese master Jia Zhangke returns with a similarly structured, yet more narratively linked, portrait of China in the new millennium. Mountains May Depart is two-thirds of a gripping relationship drama that captures not only a China in constant flux, but also the universality of human experience. Unfortunately, in the last act the threads of the narrative begin to fray and fall apart, to the point where the strong final sequence is left weaker by the undercooked scenes that precede it.
Taking place over three distinct time periods, the film begins in the year 1999 at the dawn of the new millennium. Young friends Tao (Tao Zhao), Zhang (Yi Zhang) and Liangzi (Jing Dong Liang), like the rest of China, are happy and hopeful with what the new century may bring.
Written by Jia Zhangke
Directed by Jia Zhangke
China/Japan/France, 2015
Following the brilliant A Touch of Sin, auteur and Chinese master Jia Zhangke returns with a similarly structured, yet more narratively linked, portrait of China in the new millennium. Mountains May Depart is two-thirds of a gripping relationship drama that captures not only a China in constant flux, but also the universality of human experience. Unfortunately, in the last act the threads of the narrative begin to fray and fall apart, to the point where the strong final sequence is left weaker by the undercooked scenes that precede it.
Taking place over three distinct time periods, the film begins in the year 1999 at the dawn of the new millennium. Young friends Tao (Tao Zhao), Zhang (Yi Zhang) and Liangzi (Jing Dong Liang), like the rest of China, are happy and hopeful with what the new century may bring.
- 13/10/2015
- por Liam Dunn
- SoundOnSight
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