In early 2003, the film attracted a welcome on the festival tour the previous year and began traveling to Ascension in the United States. A story of a twenties trapped in punishment of minor crime and permanent restlessness - and received the British title Unknown fun - This is the fourth feature of writer and director Jia Zhangke. The film sprinkles the genre into a narrative narrative with a realist aesthetic that is untroubled. The fact that Jia used digital videos in the early 2000s made you feel like you were watching an online documentary and Lo-Fi underground movie. For many of us in the West, this is our first encounter with the works of arguably the most important Chinese filmmaker in the 21st century and one of the most important figures in the world cinema. If you’re addicted to the idea of being a cultural passport, that’s a transformational introduction you’re eager for. You've entered Unknown fun Curious about imports named after the Happy Partition Album. You left a changeable person.
Over the past twenty years, Jia (Jia)Feelings of guilt,,,,, Gray is the purest white) to a melancholy social tragedy (Still life, the mountain may leave). He has been constantly catching a cold with the evolution of his motherland, power and detours, but never cold, and humans have always swept and/or swam desperately in humans to keep up with the wave of change. Catched by the tide It is a continuation of his obsession with a country's daily people's goal of modernity, but it is also a callback. It is carefully designed in a co-lockdown in more than 20 years of video, connecting debris and parts of different Jia's back catalogs to a moving, scrapbook-like look back on his career, his homeland, and a century of short history, still in the midst of flooding. On paper, the effort sounds like the equivalent of a B-side and a rarity compilation. On the screen, it acts like a suction cup masterpiece.
The guide will gently travel through time and space through previously discarded scenes, footage and ambient Vérité edits used in previous films, which will be very familiar to those who know the director’s work. Zhao Tao has been a long-time collaborator and life partner since the 2000s and has appeared in most of Jia's films. platform. When she first appeared here, it was her rebirth Unknown fun The character Qiao Qiao, a young woman with bob hairstyle, boring air and daily work as a dancer at company events. You may also know Li Zhubin, who plays her boyfriend’s cruel liar. His exact location in the local mob pecking order has never been stated, but he is definitely a crime. The first act is essentially drawn from the camera, three of which were shot in that era, which makes you fade away in the rearview mirror for a moment.
We watched Qiao Qiao's disintegration relationship with her Beau again, and the two fell into the same loop 20 years ago. Then we fast forward to 2006 - the year when Jia fired still life, His personality study examines two people’s rapid search for lost spouses on the Yangtze River, known for their three Grand Canyon Dam projects. (Zhao and Li are also in that movie.) Qiao is a little older, short and fat, and more thoughtful. As for her ex-sweetheart, he has moved from illegal activities to the same immoral real estate world. She tries to reconnect, or maybe reset things. Given the largely invisible, drift-like nature CaptureIt is difficult to fix the nature of certain plot elements in the storytelling. Things collapsed. The center can either not or cannot be held at all. Time shrugged and moved forward.
We have been watching modern China modern China rural provinces, towns and bustling cities, mutations, spoilage, build our own backwards, flush and repeat in the background. Milestones such as space missions and the Olympics come and go. You hear songs people sing in nightclubs, outdoor pageants accompany the product releases, and in a wonderful moment, Jia Jia works on a miscarriage nonfiction project, doing different things at a party of old friends, but elevating, nostalgia and hope to keep a better star. The only constant is change, a few years past. In the movie’s news notes, the filmmaker says he’ll see ancient, unused shots often, “the images get far away because I feel their recording time is lost.” Jia can make anything from that Flotsam and Jetsam, which is surprising, but not only can he reproduce these time frames, but he can also make all the time frames into a sleepy, free-floating piece of memory, which is miraculous.
Then there is the last act, which has a wealth of masks and medical programs that immediately designated it as being shot dead in China amid the pandemic. Monetizing social media is new Stiff Noisy and bustle. Like the actors who play them, the characters have become aging. The party is staged and reminds you that the greatest gift of movies ever gave us a close-up. (Even the non-surgical N95, Zhao can't stop her from proving that she is an incredibly underperforming actor.) You can feel the accumulated weight build. and then Catched by the tide Ending in a collective and individualistic posture, it’s so much about what the director and his stars have been doing that you can’t help but open up. This is the pleasure and trap of witnesses entering the future first, the future (some future) will bring new waves to rush in, while also reflecting the necessity of beating, the ship defies the current ship and constantly proves forward.