An angry miner revolts against the corruption of his village leaders. A migrant worker at home for the New Year discovers the infinite possibilities a firearm can offer. A pretty receptionist at a sauna is pushed to the limit when a rich client assaults her. A young factory worker goes from job to job trying to improve his lot in life. Four people, four different provinces.
Jia’s world has its own geography. It (re)organized China into a personal map, where almost everything starts and ends in the filmmaker’s native province of Shanxi. It is the starting point and the ultimate “home.” This is where Xiao Wu the pickpocket operated, where the itinerant performers of Zhantai (Platform, 2000) roamed, where the sad heroes of Ren xiao yao (Unknown Pleasures, 2002) burnt their lives out, where the migrant worker of San Xia hao ren (Still Life 2006) and Shijie (The World, 2004) came from. This is where Tian zhu ding starts and finishes at the end of a tragic “tour.” The cities of Fenyang or Datong, the countryside and the murderous privatized coal mines have long been a compass to Jia’s filmic China.
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