A story of violent love within a time frame spanning from 2001 to 2017. Read More »
In China, three unemployed Shanxi laborers are looking for work. Their last hope is to be employed as performers in a surreal amusement park.
Tony Rayns wrote:
A showstopper, a funny/sad tale of three unemployed miners – their faces will be familiar to fans of Jia’s films – trying for ridiculous new jobs as bodyguards and theme-park actors. Read More »
sensesofcinema article :
(…)the 1990s have witnessed the unprecedented development and modernization of the South Korean film industry, encouraged by multi-faceted efforts from the government. The creation of the Chonju/Jeonju Film Festival in 2000 matched the desire of involving South Korea in a cutting edge international film culture. In addition to homages to Asian (Hou Hsiao-hsien) or European (Chantal Akerman) auteurs, the Festival hosted a number of events devoted to digital filmmaking(…) Read More »
Xiao Shan, a temporary worker at the Hongyuan Restaurant, has just been fired by his boss Zhao Guoqing. Deciding to leave Beijing and returns to his home in Anyang, he goes to see a series of people from his hometown who have also been living in Beijing -construction workers, train ticket scalpers, university students, attendant, prostitutes- but no one wants to go back with him. Dispirited and confused, he searches out one after another of his old friends who are still in Beijing. Finally he leaves his wild long hair, the symbol of his life in the city, at a roadside barber stand as his offering to Beijing. Seoul Independent Film Festival Read More »
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.
Read More »
Little pocket thief Wu never got away from the streets like his friends did. He realises that he is alone, as his old buddy doesn’t invite him for his wedding. When he falls in love with a hooker he is forced to think about his future. Can he break with his criminal past? Read More »
The life of Tao, and those close to her, is explored in three different time periods: 1999, 2014, and 2025. Read More »