Patrulha da Montanha

'Kekexili' was completely different from what I expected. Well, honestly speaking, I didn't know what to expect so my expectation was built up from the Chinese movies I'd already seen and looking at the poster, I thought it was an action movie...but i was pleasantly surprised.

This is one of the few movies today that show how simple film-making stands out. Technically speaking, special effects weren't overdone, background score was kept to a minimum, no unnecessary subplot and it sticks to the point.

To sum up the plot, 'Kekexili' is about a group of patrols who are in search of poachers. We are briefly introduced into the lives of the penniless patrols, how passionate they are about protecting the endangered antelopes, their selfless deeds and sacrifice (yes, even their lives) and their strength and courage.

Chuan Lu's direction is outstanding and he remarkably tells us this sensitive story. The actors breathe into their characters, making you forget that they are actors. Cinematography is fantastic and we also get the feel that the climate (snow, wind etc), the haunting mountains and the city are characters themselves.

Being an animal lover myself, I was very moved by 'Kekexili' as a felt for all the characters and their passion and courage really touched me. However, I wouldn't say this is only restricted to animal lovers because 'Kekexili's about selflessly fighting with courage, honour and passion (without giving up) for something you believe in because the effort will not go in vain.

Set in stunning scenery on the titular Tibetan plateau, "Mountain Patrol: Kekexili" recreates an extraordinary grassroots effort in the 1990's by supremely dedicated idealists to stop poaching of the Tibetan antelope -- mano to mano with no satellite phones or navigation equipment or much in the way of weapons.

For all the thrilling nobility of the volunteers and grueling challenges they face from man and nature, the film naggingly feels like a propaganda effort supported by the Chinese government to show how it supports Tibetan initiatives (including a somewhat smug statement at the end that they have now taken over the protection job from the volunteers). I felt complicit in the occupation even as I got caught up in the film.

Their struggle to save the antelope vividly recalls scenes of how the buffalo was decimated in "Dances With Wolves", though we get no inkling of the role of the antelopes in Tibetan culture, so saving them just seems either altruism about a rare animal, nationalism, obsession, stubbornness or macho independence.

While we meet several of the volunteers in their isolated monitoring stations and frustrating chases who have a range of personalities and relationships, it is a bit hard to differentiate them other than by the vehicles they are driving or jewelry they're wearing. The exceptions are the patrol's charismatic leader Ri Tai (Duobuji captures the screen) and our entrée to this world, a Beijing-based investigative journalist with Tibetan roots (Ga Ju played by Zhang Lei who effectively communicates his transformation by his experiences).

Whle the sense of swaggering male camaraderie is well captured in a military-like bonding of living, traveling and partying hard, they say the area's name translates to "land of beautiful women" and that's supported by the few we see during brief respites.

In addition to the breathtaking scenes of the Tibetan plateau, better seen on the wide screen than on TV, in a range of extremely challenging weather and geographic elements (one scene in quick sand is particularly harrowing), the views of Tibetan towns and quotidian life in the mountains are an intriguing sidelight.

The subtitles were only hard to read as white on white a few times, though a couple of times they lingered on the screen too long past a dialog, blocking views.

National Geographic co-produced the film and has additional information about the film and the cause at their Web site (though for some reason IMDb doesn't consider their's the official movie site).

From the director of The Missing Gun comes this powerful story of a journalist who travels with a small mountain patrol group as they track a band of poachers across the unforgiving lands of Kekexili, the last great wilderness.

To say this film is great is a grave understatement as its uncompromising nature and cinema verite approach to story telling elevate it above all other films of the year. What this film does so well is connect you with the protagonists in a simple, yet very effect manner. Once the initial setup and character introductions are complete, the rest of the film is spent following them through the harsh wilderness. In doing so, Lu Chuan places the viewer in the same dire situation as the mountain patrol. We're with them as they brave harsh winds, freezing water, sun-baked plains, and treacherous, snow-covered mountains. We feel their anguish as they come under attack from seemingly invisible assailants. We sense their fear and pessimism as they struggle to survive in this breathtakingly beautiful, yet ultimately deadly landscape. All this to protect Tibetan antelope. The fact that they're willing to risk everything for this unseen animal says more about their character than any amount of dialogue. They do this without a paycheck and with the knowledge that they'll probably have little to no success. By giving the antagonist so little screen time, Lu Chuan is able to broaden this story and give it global context, declaring that attitudes and actions such as this should be condemned outright. It also serves to elevate the protagonists above ordinary heroes as it can be interpreted that they're not just doing this for the Tibetan antelope, but endangered animals everywhere.

Kekexili is an enormously powerful film that should not be missed. This is far and away the best Chinese film of the year (better than Shi Mian Mai Fu (House of Flying Daggers) in every respect) and one of the best films of the year, period. 10/10

It is the best Chinese movie of the year I have seen. I was shocked by the story and the presentation of the movie. It took me quite a while to get out of it.

The movie talked about how a volunteer mountain patrol team fought against the poachers and protect the extincting Tibet antelopes. Due to the increasing demand for the leather and cashmere of Tibet antelopes, poachers drove the once 1 million antelopes to the edge of extinction (less than 10 thousand). A retired military officer volunteered to setup a mountain patrol to protect the antelopes and hunt the poachers.

What is touching is not the survival or dying of the antelopes but that of human beings above the 4000 meters (over 12,000 feet) high land. Wind, snow and deserts took away food from people and they could not make a living. Lots of people turned to hunt antelopes for their own being. Meanwhile, the team members of the mountain patrol were fighting for their own life while hunting the poachers. The volunteers had no government funding, no food, and no weapons. They were at great disadvantage when facing well equipped, out numbered and brutal poachers. Without any alternatives, they had to sell the skins of the antelopes they captured in order to support their duties of protecting the extincting creatures. The movie presents the brutal facts right in front of you and make me hard to breath.

The story was set in the period of 1993 to 1996, however, I highly suspect that it was an on-going cat and mouse game, and the situation of today may not be much better than what was described in the movie.

Highly recommended.

'Kekelixi' ('Mountain Patrol') is one of those quiet, quasi-documentary films that now and then rises out of nowhere and has such an impact on the viewer that it has the potential for creating some global change action. Written and directed by Chuan Lu from China and sponsored in part by National Geographic the film was distributed as 'travel/foreign places/environmental issues' product, and while it satisfies those designations, it resonates as a story that is not only based on fact, but one that opens our eyes to another way of life in a very remote area. The effect is stunning.

A journalist from Beijing - Ga Yu (Zhang Lei) - travels to Tibet to investigate the poaching of Tibetan antelope and the group of unpaid citizens committed to eradicating the poachers and saving their beloved antelope. The leader of the mountain patrol is Ri Tai (Duobuji) and he has gathered devoted men who spend their lives selflessly searching for the elusive poachers. Ga Yu goes along for the search, camera in hand, capturing the magnificence of the mountains of Tibet, the men's camaraderie and commitment to their mission, and the fields of antelope carcasses left behind by the poachers whose only concern is to skin the antelope for their pelts of luxurious wool for the world market. The patrol encounters endless problems with their equipment, food supplies, loss of men to the poachers' guns, and finally capture a group of men (a family) who serve as skinners for the pelts. Ri Tai attempts to remain fair and non-violent, but his attempts are constantly thwarted. Ga Yu changes from a journalist role to a committed hunter and his relationship with Ri Tai and the other patrolmen is exceedingly touching. The ending of the film is as quiet as the Tibetan landscape and equally as impactful.

The cast is not known to this viewer, but it is difficult to imagine that Duobuji and Zhang Lei are amateur actors, so profoundly moving are their performances. The haunting music by Lao Zai and the breathtaking cinematography by Yu Cao support Chuan Lu's film. This art piece is excellent on many levels and is one that deserves a large audience. Highly recommended.