Earlier this ultra-chic collection tearful testimony, we heard a lion roar. The lion is Jia Zhang-Ke. The cage is his film. filmmaker sitting on his reputation filming people sitting on their childhood memories. Intimate and the universal should arise, but strangely the opposite happens. Perhaps because the universal is sought from the beginning. Announced, no one expects more. For
Jia Zhang-Ke is already known historical figure in his country. So, not too much that it shows, he films of other filmmakers, and presents excerpts from other films than his. The film has accompanied the history of China. But this film merely commemorate. Autofellatoire fantasy realized.
A lion caged, really. Jia Zhang-Ke is a filmmaker who knows how to make plans. The problem is that he does not know where to put them. His camera is around people he asked to catch a new light, a shadow, a different perspective. And his subject eludes him. The confidences of each other vaguely disguise a test architecture, first-class. But they are there. The viewer experiences them.
way out, there were those who wanted to find this section of the world where the film was in context, those who said "China, what amazing country!" and then said no more nothing, those who had found a little embarrassed some interesting stories and others less. Jia Zhang-Ke puts us in position on the wrong student. Teaching half, his film is a half movie. Sometimes there are beautiful things. Sometimes there are too beautiful. Nothing is really in its place. Neither the director nor the spectators.
The theme of this woman walking in silence through the streets of Shanghai is a distressing process. Between two words, a pause. Between two closed rooms, a view from outside the city. And workers that move, the static shots. And the people sitting, plans that turn. We saw more subtle. This is even
not a problem of subtlety. It's just that these methods show the boredom of film theory. The pleasures are no longer strangers.
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