Kekexili : La Patrouille sauvage

Kekekili is a mountainous wilderness in Tibet, home to the Tibetan antelope - now an endangered species since their fur became a valued commodity in the west. In the early 90's a group of volunteers formed to protect the antelope from poachers, working with meagre resources in a hostile terrain. When one of the volunteers is murdered, a journalist from Beijing travels to Kekexili to follow the patrol and tell their story.

Tibet is a country that many in the west have a very romantic image of - a culture and lifestyle as far removed from modern, urban society as any on earth. The reality of Tibetan life in the modern age is probably that it's tough, first and foremost.

Kekexili is a simple film, telling the story with no bells and whistles or attempt to shoehorn in clichéd dramatic devices, or to make the characters fit particular archetypes. People and events are presented plainly as the patrol pursue a group of poachers over the gorgeous backdrop of the mountain wilderness, risking their lives to protect the endangered antelope - but compromising themselves ethically along the way too.

The ending is perhaps a little unsatisfying, but I guess reality can be like that :)

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

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).

While I know I am biased and I will explain why, I still feel I should write and try and express the depth of feeling I have for this film.

My brother, Alex Graf was a production manager for Columbia Tri-star Asia. He was returning from the filming location in western China when he was killed in a vehicle accident.

OK, now you know why I am biased towards this film. That being said, this is a very powerful, visceral film. It is definitely not a feel good film and is, at times very hard to watch. The setting is in the western Chinese high desert. To describe the scenery as beautiful, breathtaking and desolate would be to massively understate it. What an incredibly vast, unforgiving, yet hauntingly mesmerizing landscape, and Lu Chuan takes full advantage of this. One aspect of the film that is unexpected, and demonstrates Lu Chuan's mastery of film making is that you expect to despise the poachers but somehow you end up understanding their plight as much as that of the patrol. If what I have written here still doesn't move you to see this film then see the film as see for yourself you will not be disappointed. Andrew Graf

Meaning "Beautiful mountains; beautiful maidens" in Tibetan, Kekexili is the relentless, harsh mountainous plateau in China's interior west just at the border of Tibet. Together with the splendorous scenery comes ferocious snowstorms and treacherous quicksand. It's these forces of nature that eventually brought peril to a troop of voluntary mountain patroller in the pursuit of poachers of the near-extinct Tibetan antelopes during the mid 90s.

The story of the voluntary mountain patrol is told through a Beijing report who accompanied them through a 10-day quest to track down a band of poachers who kidnapped and murdered one of their men. Led by indefatigable leader Ritai, these volunteers from all walks of life shared a common passion, there fervent love of the lordly Tibetan antelopes and hence their furious hatred of the ruthless poachers. The intensity of this passion is brought home to the audience when they witness a scene of a mountain plain littered by hundreds of carcasses of skinned antelopes in the middle of being picked clean by carrion crows, and later reinforced by a similar scene, with the skin of these antelopes spread out to dry, some with crimson bullet holes.

Filmed as a semi-documentary, Kekexili does not portray the patrollers as one-dimensional heroes as some Hollywood flicks might have done. We see them, during their red-hot pursuit, rough-handling a minor offender caught with antelope hair instead of cotton padding his coat and a couple of worm catchers who happened to have witnessed the poacher passing by. But these are minor, as we gradually come to understand that desperate for financial resources, as they were only semi-official and not paid by the provincial government, the mountain patrol resorted to selling some of the pelts they confiscated from the poachers. But the lasting impression left with us of the mountain patrol would be their humanity, their simple zest for life, their comradeship, their self-sacrificing spirit and their absolute dedication to doing what they believe in.

Kekexili is a deeply moving account of a true story crying out to be told, and has won awards in Tokyo and Taiwan. It deserves to be seen by the rest of the world.

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After the first screening of Kekexili in the Hong Kong International Film Festival (22 March to 6 April 2005), young, handsome director Lu Chuan answered questions from the audience in Putonghua and respectably fluent English.

He explained that he was moved to making this film after reading the report of the Beijing photojournalist Ga Yu. The film took two years in preparation before filming, and was shot at the exact locations of the actual events. He said that in filming the story of the mountain patrol, he was not trying to provide an answer to what fuelled their devotion, but just to reflect what actually happened. On the minor questions, he explained that the five hundred odd carcasses in the film were not from killing antelopes (yes, that was the question!), but were actually from mountain goats that was the natives' normal food. And yes, he himself did try eating raw meat, as the reporter did in the movie, when offered a leg just cut from a rabbit freshly shot..

Breaking of the story by the Beijing reporter brought sensational worldwide reaction. In response, the government took strong measures and formed an official force to stamp out poaching of the antelopes. The voluntary mountain patrol, having thus achieved its goal, was disbanded. The population of the Tibetan antelope has since increased.