O Lago do Ganso Selvagem

Gang warfare in Wuhan in this highly stylized Chinese gangster movie. There isn't a great deal that's new about Yi'nan Diao's "The Wild Goose Lake". Walter Hill, Jean-Pierre Melville or more recently Michael Mann could have made this but Diao's use of flashbacks to propel the story and his superb use of locations certainly give this an edge. Despite the fatalistic tone it's hardly what you would call existential despite moving at a fairly leisurely pace. The plot isn't always easy to follow and sometimes it's hard to know who belongs to whose gang or who's a cop and who isn't.

As a cop killer on the run, Ge Hu is as cool as they come; in another lifetime Delon or Belmondo might have played this part and Lun-Mei Kwei is excellent as the film's femme fatale. In the end there is more atmosphere than action and the film's look finally overwhelms its content but it's great that in this day and age this kind of gangster film is being made and that China has taken such a fundamentally American genre and twisted it to its own ends.

Hu Ge plays Zhou Zenong, an ex-con and a leader of a minor crime family mostly specializing in motorcycle thefts. Unfortunately, a quarrel with another crime family has him accidentally shoot a police officer, mistaking the man for one of his enemies. Now he's on the run and ends up near Wild Goose Lake, a lake resort known for its prostitutes. You can definitely disappear in a place like that. But does he manage to pull it off?

The story revolves around Zhou and Liu Aiai (Gwei Lun-mei), one of the local prostitutes, whose pimp is a known associate of Zhou's. Liu is made to contact Zhou because she's not immediately known to the police, and the rest evolves from that.

If I had to describe the style of the film, I'd say it's a weird mixture of John Woo and Kim Ki-duk. With more emphasis on Kim. It definitely wants to be a crime thriller, but it's very slow and thoughtful about it. The film has this serenity to it. People are in a rush, it's a tense situation, but there are still moments just to have a conversation or to get lost in your thoughts. Have a moment of introspection.

Until the film decides it's time for the final action scene, when all bets are suddenly off. It's a jarring mixture to say the least, but I can't say I minded it.

If I had to name one flaw, I'd say the plot is a touch meandering. The slow style works surprisingly well, but whenever the story needs to move forward, it takes a while to do so and jumps through a few hoops too many.

Still, if you're looking for a Chinese crime drama, you could do a lot worse.

I have to say I was really disappointed with this . It was recommended as sleazy Noir movie but I just found it dull. There is only so much I can take of people chain smoking and looking moody .

Fleeing from the law, gangster Zenong Zhou crosses paths with an innocent-looking woman named Aiai Liu . Unbeknownst to Zhou, she holds a significant secret. Zhou must then confront the limits of what he is willing to sacrifice both for this stranger and for the family he left behind.

As well as being as dull as dishwater , the characters we're uninspiring and I couldn't care less what happened to them . There were too many people getting involved with finding Zhou and it diluted any interest I might have.

The one good thing is that it looked great . Set at night , the scenery is fantastic . There is something about the back streets of China that look great on the big screen but sadly that's the only positive and I'm sure by tomorrow I will have forgotten about most of this film .

When I saw Wong Kar-Wai's "In the Mood for Love"(2000) with Maggie Cheung - I knew we were watching a completely new cinema that would one day self-realise into epic cinema ~ epic Chinese cinema. And I have now seen that realisation in The Wild Goose Lake. This film is like a cross between Godard's Breathless and de Sica's Bicycle Thieves - and is so satisfying you could watch it upside down. It is possibly the grittiest film I have ever seen, with the urgency and cinematic style of French cinema of the 1960s - where the possibilities are endless and every new film in this genre will be waited for in anticipation.

Diao Yinan 's third feature-length feature film presents a unique and unprecedented temperament in the previous Chinese-language movies. Although this style is not original in film history, as a purely Chinese-language movie, it may be historically Still the first time.

Breaking away from the context of traditional Chinese art films, this film presents a complex look and feel, on the one hand, it is addictive and shocking to the film's audio-visual, on the other hand, because of looking at those screen faces that we are familiar with , The weirdness of performing with a rare performance rhythm.

"Southern Station Party" set the story background in Wuhan. In this city known as one of the "Four Hot Stoves", the car thief Zhou Zenong played by Hu Ge accidentally shot a policeman in the fire of an opponent gang. The police issued a price tag of 300,000 yuan for Zhou Zenong. Zhou Zenong, who became a fugitive, fled in the wild goose lake in Wuhan's "outside of law", but accidentally met Liu Aiai (Guilin Magnesium), an acquaintance who didn't know her in the process. ...



85% of the "Southern Station Party" is a night show, like the night show 25 minutes before the start of the movie. But the night scenes in the film are not a single rendering of a dark atmosphere, and the night under the lens of Diao Yinan is layered. This is due to the ingenious use of neon lights, shadows and sounds.

The film is full of super bright neon elements, whether it is a neon sign, an electric car neon sign, a square dance shoe neon sign, or a toy neon sign ... their dazzling light and shabby gloomy environment seem to be incompatible, so their red It is "disastrous red" and yellow is "dim yellow"; under the contrast of the dark night, they release a sense of fantasy and illusion of stealing in the end of the world.