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IMDbPro

Os Amantes do Rio

Título original: Suzhou he
  • 2000
  • 1 h 23 min
AVALIAÇÃO DA IMDb
7,4/10
7,9 mil
SUA AVALIAÇÃO
Xun Zhou in Os Amantes do Rio (2000)
Assistir a Tráiler [ES]
Reproduzir trailer1:40
1 vídeo
99+ fotos
Psychological DramaDramaRomance

Adicionar um enredo no seu idiomaAfter getting out of prison, small-time crook Mardar stumbles upon a woman who looks exactly like his long-lost lover.After getting out of prison, small-time crook Mardar stumbles upon a woman who looks exactly like his long-lost lover.After getting out of prison, small-time crook Mardar stumbles upon a woman who looks exactly like his long-lost lover.

  • Direção
    • Ye Lou
  • Roteirista
    • Ye Lou
  • Artistas
    • Xun Zhou
    • Hongsheng Jia
    • Zhongkai Hua
  • Veja as informações de produção no IMDbPro
  • AVALIAÇÃO DA IMDb
    7,4/10
    7,9 mil
    SUA AVALIAÇÃO
    • Direção
      • Ye Lou
    • Roteirista
      • Ye Lou
    • Artistas
      • Xun Zhou
      • Hongsheng Jia
      • Zhongkai Hua
    • 36Avaliações de usuários
    • 57Avaliações da crítica
    • 76Metascore
  • Veja as informações de produção no IMDbPro
    • Prêmios
      • 6 vitórias e 3 indicações no total

    Vídeos1

    Tráiler [ES]
    Trailer 1:40
    Tráiler [ES]

    Fotos227

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    Elenco principal6

    Editar
    Xun Zhou
    Xun Zhou
    • Meimei…
    Hongsheng Jia
    Hongsheng Jia
    • Mardar
    • (as Hongshen Jia)
    Zhongkai Hua
    • Lao B.
    Anlian Yao
    Anlian Yao
    • Boss
    Nai An
    • Xiao Hong
    Zhang Ming Fang
    • Narrator
    • (não creditado)
    • Direção
      • Ye Lou
    • Roteirista
      • Ye Lou
    • Elenco e equipe completos
    • Produção, bilheteria e muito mais no IMDbPro

    Avaliações de usuários36

    7,47.8K
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    Avaliações em destaque

    mriccardi

    Emotionally satisfying film noir with grit and energy to spare.

    I saw this film last night at the Philadelphia Festival of World Cinema and I was mightily impressed. This film has been compared to Hitchcock's Vertigo, with good reason, but this is a highly original film. Lou Ye's film is less detached and cold than the Hitchcock, and for that reason more emotionally affecting. The choice to use POV shots for one important character, for instance, makes it easier for the viewer become attached to Meimei/Moudan, the lead female character. The actress in the dual role shows amazing emotional range. And the city of Shanghai is a place whose grit, decay and urban energy is palpable. The climax of Suzhou River is heartbreaking, and the coda leaves one with the POV character's feelings of yearning and world-wear
    9Killer-40

    Greatest lovestory at Mifed 2000

    The first five minutes of Suzhou were hard to stand for me because I don't go for an overnervous handcamera. From than on one of the most sophisticated and touching lovestories was unfolded in the scenery of Shanghai where the director could only film unofficially. This makes Suzhou look half-documentary and helps to transmit the cold truth of betrayed love as well as the disturbing search for a warm reunion with the lost lover. You'll not only be surprised by the end. It will deeply move you.
    chaos-rampant

    Palpitations

    Told through flickering cameras, jump cuts, fluorescent lights, visual fragments and burnt colors, this is a romance within a romance, a narrator within a narrator searching for a girl he lost. He's a cameraman, someone tasked with seeing; he watches her every day as she comes along the bridge to an apartment they share. As he waits he imagines a story she told him about a man who spent his life searching for a girl he lost. Imagines her in the girl within the story's place, until that girl disappeared in the river. His own girl emerged from water the first time he saw her, mermaid in the club aquarium.

    It's about his girl who never came back one day, vanished into air. The whole is narrated from the end, with the nested story about heartbreak as wondering about love, how people can truly do it. The river standing in for transient life that carries away the past.

    It's not quite Kar Wai, albeit in the same vein of languorous longing that stirs electrifying poetry out of streets. It's a bit loose in shape, pieces of daydream that float, and very much influenced by French notions of layered narrative.

    Noir Meter: not a noir
    Richie-33

    Stylishly unconventional

    Most of this film is shot directly from the point of view of the narrator, an unseen videographer who travels the titular river recording the myriad stories played out on its banks and vessels. Even the scenes in which he is not involved could well be his thoughts of events as he recounts what he has been told by others and it is this that is initially the most striking element of Suzhou River. It makes the viewer feel much more involved in the unfolding tale, although at times the rapid cuts and shaky camera are unnecessarily disorientating.

    The narrator begins to tell us about his life - his job, his girlfriend Meimei who he obsessively videos and his fascination with the people of Suzhou River. But then this takes a back seat to his recounting of one of the many tales infamous within the community, of Mardar the motorcycle courier who is relentlessly searching the city for his lost love, Mudan. Her body was never found after she threw herself into the river from a bridge when Mardar was forced into kidnapping her by his gangland boss. But then this tragic story collides with our own narrator's as Mardar is convinced that he has finally found his long lost love and that she is Meimei. Obvious comparisons have been drawn to Vertigo's plot of a man undone by his lover's suicide and determined that he has found her again.

    This debut feature from Chinese director Lou Ye benefits greatly from his unconventional style which seems to make the events more tangible. He portrays the river itself as a metaphor for life, its swirling eddies and undercurrents the many stories it keeps within its deep mysterious heart, with no effect on the mass flow of life, but turning the individual lives of those involved upside down. The parts of the film dealing with the burgeoning affections of Mardar and Mudan are excellent (particularly for Zhou Xin, who plays both of the two vastly different lead female roles equally well) , however I felt the events gathered pace a little too quickly towards the end, rushing the story of the narrator and Meimei in comparison to that of Mardar and Mudan. The result of this was an ending which seemed a tad abrupt and so the empathy for the narrator was not as heightened as it might have been, even with the great device of us seeing everything through his eyes. Despite this Suzhou River is a stylishly original tale who's depth and undercurrents make it stand out from the majority of the flotsam and jetsam our video stores carry.
    9the red duchess

    Sublime hymn to Hitchcock and storytelling.

    Imagine 'Vertigo' remade by Chris Marker in the style of Wong Kar-Wai. And yeah, it nearly is THAT good. Most people have noted the allusions to Hitchcock's film, from the obsessively searching protagonist and certain plot similarities to the echoes of that most achingly romantic of film scores and the overall mood of romantic fatalism. But it is a 'Vertigo' filtered through the Marker of 'La Jetee' and 'Sans Soleil', one that moves it away from its Hollywood or generic context and admires its metaphysical reach, sophisticated narratology and formal complexity.

    Although 'Suzhou River''s plot seems banal enough, with its mixing of burgeoning love story and crime genre, the treatment of it transcends the mundane. This is achieved in a number of ways - in the sickly, Hitchcockian colour, making fantastic the grimly everyday; the restless, yet elegant camerawork, seemingly wired to the overflowing emotional lives of the characters; the choppy, elliptical editing, that alternately creates a more urgent sense of reality, of how life is lived by people whose sensibility is alive and alert, and less realistic, by drawing attention to the film's formalism, the idea that someone is pulling strings, ordering this 'reality'.

    It is the shadowy narrator that is at the heart of the film's mystery, not the missing woman Mardar seeks. It is his narration that is most reminiscent of Marker - in its mix of observation and speculation he turns the everyday into science fiction as he compresses, dilates, plays with distinctions of time and space, even of genre: the opening sequence could quite plausibly belong to a documentary. As with Marker, via Benjamin, the narrator is trying to create a history, an alternative history to the official one, one that sifts through rubbish, rumours and ephemera, reads and connects random signs.

    At first we assume the story is his, the narrative of his romance with Meimei; that the story of Mardar and Moudan is a digression, almost a move into urban legend. Eventually, we realise that this latter is the body of the film, and that the narrator has marginalised himself from his own narrative, let it slip away from him, just as Moudan does Mardar, Meimei herself does the narrator, Maddie/Judy does Scottie in 'Vertigo'. When it finally comes back to him in an audacious narrative loop, his privileging has been displaced, and he has become the villain, the hood who has the new hero beaten up.

    It is here we recognise that 'Suzhou' is one of the great river films, like 'Boudu saved from drowning' or 'L'Atalante'; not only in its blurring of opposites - land and water, truth and story, documentary and fiction, male and female, human and mythic creature, history and memory, life and death, fate and free will - or in the idea that there are stories, histories, destinies that are subsumed, literally under water, unseen by the 'real' world, but unconsciously shaping it; but also in its narrative logic, its relentless circularity, its tributaries branching off from the main narrative river and finally flooding it. The fact that the narrator is a stand-in for both the director AND the viewer, through his disembodied point of view, and who nevertheless expresses himself through an unseen body (sex, violence etc.) only complicates his inexplicable motivations.

    Like Wong Kar-Wai, this is a rare, total cinema experience, where acting, form, style, mood, colour, music, location, plot all cohere to overwhelm both heart and mind; a film that shows that the urge to tell stories is linked to death (in that they begin and end), sex (in that they lead progressively to climax and release) and a control (in that they order and remake experience) that combines both, just as Hitchcock revealed in 'Vertigo' over 40 years ago through the figure of Scottie Ferguson.

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    Enredo

    Editar

    Você sabia?

    Editar
    • Curiosidades
      Director Ye Lou was banned by the Chinese government to from making films for two years for making Suzhou River without authority approval.
    • Erros de gravação
      At the 16m 29 second mark you can clearly see the mike boom in the reflection of the building pillar.
    • Conexões
      References Um Corpo que Cai (1958)
    • Trilhas sonoras
      Tear Stained Eyes
      Music & Lyrics by Dou Peng

    Principais escolhas

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    Perguntas frequentes17

    • How long is Suzhou River?Fornecido pela Alexa

    Detalhes

    Editar
    • Data de lançamento
      • 27 de setembro de 2001 (Alemanha)
    • Países de origem
      • Alemanha
      • China
    • Idioma
      • Mandarim
    • Também conhecido como
      • Suzhou River
    • Locações de filme
      • Xangai, China
    • Empresas de produção
      • Essential Filmproduktion GmbH
      • Dream Factory
    • Consulte mais créditos da empresa na IMDbPro

    Bilheteria

    Editar
    • Faturamento bruto mundial
      • US$ 17.500
    Veja informações detalhadas da bilheteria no IMDbPro

    Especificações técnicas

    Editar
    • Tempo de duração
      1 hora 23 minutos
    • Cor
      • Color
    • Mixagem de som
      • Dolby Digital
    • Proporção
      • 1.85 : 1

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