二十四城记/二十四城記 Er shi si cheng ji (24 City)

Among the so-called Sixth Generation of Chinese filmmakers Jia Zhang ke absolutely is my favorite director and storyteller of ‘ordinary’ Chinese citizens compelling stories, told in what I can call very-realistic style no matter if story is real-life or fiction, or if film is documentary, fiction or a mix of both genres like what happens in 24 City.

It’s very difficult to remain a spectator while watching Jia’s films as characters, story and storytelling technique drag you inside the film quite fast to hold you inside story/ stories until the very last scene where you will feel completely satisfied after visiting the life of some people that exemplifies how China society has changed in the last 50 -or so- years. Using interviewers that we will never see but will hear we will watch amazing performances by actors and non-actors (who tell their real-life story) in what feels and look like monologues with some moments looking directly to camera while others just representing life moments, but all telling their compelling stories that go from how they became factory 420 workers until how the third generation with a more modern lifestyle (very western alike) will live in multi-story buildings with luxury flats at what now is called 24 City and will be built in what used to be factory 420 land.

If you’re familiar with Jia’s films you will recognize the actors from the non-actors as actors have been in many of his films, plus you also have well known actress Joan Chen; but all have great performances, so good that will make you feel and live whatever they’re sharing with you, the viewer.

Have to admit that is not an easy-to-watch style as maybe for some film will look like a series of interviews with people telling some interesting and other not-so-interesting stories; but if you’re familiar with Jia’s films I’m sure you’ll easily grab that film is a lot more than style. So, if you are not familiar with director’s work I strongly suggest you watch some of his films before watching this one, like for example Still Life, Platform or Unknown Pleasures.

I loved the film as a very human tale of China’s transition from a very controlled society to a ‘less-controlled’ society, a change that is happening so fast that learning about it (in films and/or real-life news) will amaze you. Not long ago I was reading about how in 10 years China built a comprehensive (and very modern) infrastructure and how now their efforts will be addressed to create a very-comprehensive ‘human infrastructure’. I feel Jia’s 24 City documents how China was able to address physic infrastructure while not taking much care about ‘human infrastructure’ and imagine that in 10 or so years maybe Jia could tell how the ‘human infrastructure’ was developed. Be sure that if he does I’ll be looking forward to watch his film as a learning experience but most of all as a visual and narrative very complete cinematic experience.

Enjoy!!!

Watch trailer @MOC

唐山大地震 Tangshan dadizhen (Aftershock)

Since 2010 Cannes I heard about this film but with the English name of Aftershock honestly I paid no attention to the film and with a literal translation of Tangshan Earthquake I was not going to be a masochist to watch an earthquake film when I actually lived a real -massive-deadly one. Plus knowing that was the first IMAX movie made outside USA didn’t add to my interest as I imagined the end-product was going to be a mess. So I forgot about it. You have no idea how WRONG I was.

All right there is an earthquake in the film at the beginning -good special effects- but my skeptical (and scary) me tried to laugh with the special effects and was repeating to myself: is not real, are special effects. The only thing missing was a small (or big) real earthquake (every day there are many where I live now, but not all are perceptible to humans) and I know I’ll be running out of where I was watching the film. My skepticism didn’t last long as without noticing I was already absolutely inside the movie living the earthquake, the aftermath plus the narrative kept me inside for the entire movie feeling all kind of emotions, with my 5 senses in complete motion, and yes, I cried like a baby a few times. When was over I was exhausted but absolutely felt that I watched a Great Movie that moved me beyond my wildest imagination. Extraordinary and outstanding film by Feng Xiaogang, a director I was not familiar with as such but that I recalled -after watching photo- as an actor in crazy Kung Fu Hustle.

Basically film tells the story of three family members that survived the 1976 Tangshan earthquake, two very young twins and their mother. The uniquely emotional story goes from 1976 up to 2008 when the Sichuan earthquake happens. In between those 32 years you will see –and live- a very moving and compelling story of Yuan Ni, the mother, Da Feng, the son, and Fang Deng, the daughter. Just this story is more than worth to watch the movie but there is also another story in the background, shown so flawlessly entangled with the family story that becomes very natural: the story of China’s transformation over the past 40 years with all its political, economical and social changes. For sure the best China recent history movie I have ever watch and I have watched quite a few that do the same –one front story with a secondary China history in the back- but this one is outstanding.

As a movie is superb with flawless performances by young and older actors (that I suspect many were non actors, as many extras were real-life 1976 earthquake survivors), cinematography that allows you to live the disaster but after absolutely complements and integrates to the drama (and trauma) as well as camera moves and framing evolve with the times the narrative is telling and goes from classic compositions to more modern storytelling techniques. As a matter of fact tech specs in the movie are very interesting, but won’t bore you with how great they are.

I hate they named the film Aftershock in English as does not allow/facilitate many that love Chinese cinema to realize that this film is not Hollywood, is not a “special effects” disaster movie, and definitively there is no aftershock (strict word definition) after the 1976 earthquake. This is great Chinese cinema as good as many extraordinary films from better-known to me directors like Jia Zhang ke or Zhang Yimou, for example. But I found one very-important difference; this powerful film looks and feels with more universal appeal than any other good Chinese cinema films I have seen, this is a film that world audiences could be exposed to and they could cheer as a good film. So, I wouldn’t be surprised if always ‘strange’ Academy members are moved and give this grand epic film the top award in 2011 as the film truly deserves it. But you never know with them.

You cannot enjoy or love this film for the story, but is a very satisfying and complete cinematic experience that I know will move many and it is obvious but I strongly recommend it as must be seen for everyone in the world. Still, I know that in-between the two earthquakes the film evolves like great Chinese cinema which is unfamiliar territory for many and wonder if they could appreciate the film to the full greatness. Nevertheless I imagine that if you’re not familiar with good Chinese cinema you could be moved by the story and maybe will realize how great Chinese cinema can be.

Big Enjoy!!!

Watch trailer @MOC

Mang Shan (Blind Mountain)

This very interesting Yang Li film is set in the early 90's and tells an amazing story about an urban university educated young woman tricked into a fake job that make her go to a remote small village where she's purchased as a wife for a peasant. What follows is her shock, her repulsion, trying to escape, being abused, etc. etc. until a great not expected abrupt finale.

The film style recalls a lot the look of the Fifth generation of Chinese directors (like for example Zhang Yimou) and a lot the work of the Sixth generation directors (for example Jia Zhang ke) suggesting to be a film of transition between lyric narrative and bare raw-reality, which makes it quite interesting if you enjoy slow paced films, with good indoor and outdoor cinematography, absence of music, plus actor and non-actors excellent performances.

The way the director chose to tell the story is also interesting as it's not really emotional and you don't necessarily empathize with the main character during a long while; but suddenly you will and at the strong finale you will feel a plethora of contradictory feelings. Great storytelling!

A film that I strongly recommend especially to women from all over the world as even when most critics talk about China politics in the story, for me definitively is not about politics, is an universal women story that with or without variations happens all over the world.

The movie has been honored with awards at festivals like the 2007 Bratislava and 2008 Istambul fests, all well deserved honors for a movie that slowly, very slowly uncovers a thought provoking story.

A must be seen for those that enjoy Chinese cinema and compelling women stories.

Enjoy!!!

Watch trailer @ Movie On

南京！南京！Nanjing! Nanjing! (City of Life and Death)

Extremely hard-to-watch movie about the take of Nanking by the Japanese and all the atrocities that come after conquer subdues conquered. I still have engraved in my brain the last words spoken in this movie: “Life is harder than death”. You have no idea how true those words are, especially after watching this mesmerizing film about the atrocities the Japanese did in WWII.

The film looks and feels so realistic that at times gives the impression of being a documentary, moving pictures taken when everything was happening in reality. But this is no documentary as has a narrative that tells in silence what one Japanese soldier sees since he entered the city after the Chinese surrendered. What he sees (and we do too) is truly horrendous and very emotional for the character and for viewers, so definitively is not a film and story for the weak.

I couldn’t stop watching because the images and the storytelling are impressive, but my heart and body shrunk and still feel the pain of what I saw. Yes the film inhabits a strange space between art movie and the mainstream that will totally blow your mind if you can stand what’s shown in the screen.

The film is in black and white with very few words spoken in different languages, including some writings in English at the very beginning that I interpret as the writings of John Rabe, the German that saved many Chinese during the “rape” of Nanking. Top production values with top performances; but honestly, the story is really hard to watch even when the images are spectacular. In particular the end of the movie is almost surreal with Japanese soldiers dancing at the beat of their giant drums and the film ending in a large field with tiny white flowers.

As someone says, it’s common that cinema portraits what Germans did in WWII but very seldom audiences have the opportunity to watch what the Japanese did. This is one opportunity that many should not miss for the History lesson told in a non-melodramatic and emotion-intense way.

I do recommend the movie as a movie to those that like art in their movies and to those that don’t too (it's also mainstream); but insist that the story is not for the weak. This is not a movie to enjoy but just to keep the rating system I mention the word, enjoy.

Enjoy!!!

Watch trailer @ Movie On Companion

Dangkou (Plastic City)

Very strange debut movie by Nelson Yu Lik wai, who is better known as the cinematographer of Jia Zhang ke (who’s one of the multiple producers) that’s visually interesting but the story and storytelling style is not.

This is a Chinese, Japanese and Brazilian production with a story set in Brazil about a crime family in the counterfeit goods business. Tells about Chinese counterfeit “king” Yuda (Anthony Wong Chau-Sang) and his adopted Japanese “heir” Kirin (Jô Odagiri) who embark on a power war and eventually are ousted by an ambitious Chinese younger “king wannabe”.

What makes this movie strange is that looks and feels like a Japanese or Chinese film/story but the Sao Paulo setting really crashes with the story the film is telling. I tend to believe that if the same story is told in Hong Kong, Tokyo or any other major Japan or China city, the story, the film, and the storytelling style would have made a completely different film that would have been a lot more interesting.

Main actor’s performances are really good but their acting style looks and feels totally out of place; still that’s one of the reasons that allowed me to watch the entire film, besides the eye-catching visuals and excellent cinematography. But neither saves the film as a whole and when is over leaves an unpleasant taste in your mouth that travels fast to your head.

It’s hard for me to imagine how a film with such excellent credentials went so wrong. But this is not the first (and probably won’t be the last) movie with excellent Asian credentials where storytelling goes wrong because of the setting, just remember Kar Wai Wong's Blueberry Nights.

The film was in competition for the Golden Lion at the 2008 Venice Film Festival and I also do not understand how it end-up there, as is a film with style but very little substance.

I cannot recommend this movie.

Watch trailer @ Movie On Companion

12th Shanghai International Film Festival Award Winners

Today the fest announced the Jin Jue Award winners and here they are.

Best Feature Film: Original, Antonio Tublén and Alexander Brøndsted, Demnark and Sweden, 2009
Using this title for a film is dangerous, almost suicidal. But the film more than met the challenge the title lays down. A light, touching and subversive study of mental illness that is compassionate and never sentimental. From the opening image of a fish tank being peeled open to the Mexican wrestlers tumbling in the heroes’ mind we know we had found the best film …… ORGINAL!

Jury Grand Prix: 寻找智美更登 The Search, Pema Tseden (aka Wanma Caidan), China,
The most challenging film we saw, almost a meditation in patience as well as an exercise in it for the viewer, uncompromising but funny and humane too. We look forward to many more films from Tibet.

Jury Award: 白银帝国 Baiyin diguo (Empire of Silver), Christina Yao, China, Hong Kong and Taiwan, 2009
To the director and her cast and crew for the detail and craft on such an epic scale and in such extraordinary locations. And for reminding us, especially at this time that bankers should be kind and righteous.

Best Director: Julius Sevcik for Normal (Angels Gone), Czech Republic and Macedonia, 2009
A dazzling and technically bold director in command of all elements delivering his challenging vision of the serial killer genre.

Best Actress: Simone Tang in Kærestesorger (Aching Hearts), Nils Malmros, Denmark, 2009
For the control and clarity of complex emotions perfectly captured by a performance that lures us in until we find ourselves, like the young hero, repulsed.

Best Actor: Sverrir Gudnason in Original, Antonio Tublén and Alexander Brøndsted, Demnark and Sweden, 2009
Is he acting, fantasizing, fooling everyone – and himself – or is he simply crazy – we never really know. What we know is that this young actor’s brilliant, sensitive, humorous and vulnerable performance is absolutely mesmerizing.

Best Screenplay: Fabio Bonifacci and Giulio Manfredonia for Si può fare (We Can Do That), Giulio Manfredonia, Italy, 2008
Their screenplay documents with wit and clarity - a true story of the way political philosophy can intersect with social need and build something truly transforming.

Best Cinematography: Nicolas Guicheteau and Hans Meier for Nulle part terre promise (Nowhere Promised Land), Emmanuel Finkiel, France, 2008
This is the most contentious decision. It is not in the classical tradition but more an acknowledgement that cinematography in the modern era can be about ways of seeing; what you look at and how it looks back at you.

Best Music: Hyoung-woo for Yeong-hwa-neun yeong-hwa-da (Rough Cut), Jang Hun, South Korea, 2008
Modern, pulpy, deliberately undermining and enlivening the gangster genre.

To check the announcement go here.

In the Asian New Talent competition these are the winners.

Best Film: Scandal Makers, Kang Hyung-chul, Korea
The jury praises Mr. Hyung-chul outstanding performance on controlling the film. In this film, the director interpreters various types of film expressions, successfully achieved a comedy effect of different unique characteristics, which evokes audience’s hearty joy.

Jury Prix: Be Calm and Count to Seven, Ramtin Lavafipour, Iran
For its spirit of innovation throughout the film. The film exceeds the traditional way of filmmaking in Iran, methods of shooting are innovative. Judging by this work, we can easily see the hard effort of the director. By presenting this award, jury wants to encourage the director’s enthusiasm towards filmmaking. Hopefully, we could see more great pieces by him.

Best Director: Zhao Ye for Jalainur, China
To express our compliment on his great directorial skills This film is shot at a far north frontier city in China, revealing its solitude and isolation. Although the image of the film seems plain, it holds the connotation of meaning of life to provoke the audience. Further, the extremely natural acting of the actors emphasized the theme of this film, ordinary life may have extraordinary spots.

To check the announcement go here.

12th Shanghai International Film Festival

From June 13 to 21 the fest will screen the following movies in the Official Competition for the Jin Jue Awards.

白银帝国 Baiyin diguo (Empire of Silver), Christina Yao, China, Hong Kong and Taiwan, 2009 (yes, must be seen!)
Drzazgi (Splinters), Maciej Pieprzyca, Poland, 2008
Ein Teil von mir (A Piece of Me), Christoph Röhl, Germany, 2008
Jernanger (The Storm in My Heart aka Shooting the Sun), Pål Jackman, Norway, 2009
Kærestesorger (Aching Hearts), Nils Malmros, Denmark, 2009
Kaméleon (Chameleon), Krisztina Goda, Hungary, 2008
La Fille du RER (The Girl on the Train), André Téchiné, France, 2009 (with Catherine Deneuve!)
Μικρό έγκλημα Mikro eglima (Small Crime), Christos Georgiou, Germany, Cyprus and Greece, 2008
Normal (Angels Gone), Julius Sevcik, Czech Republic and Macedonia, 2009
Nulle part terre promise (Nowhere Promised Land), Emmanuel Finkiel, France, 2008
Original, Antonio Tublén and Alexander Brøndsted, Demnark and Sweden, 2009
Romance, Guel Arraes, Brazil, 2008
La Strategia Degli Affetti (Schemes of Affection), Dodo Fiori, Italy, 2009
寻找智美更登 The Search, Wanma Caidan, China (not much info about the film but seems interesting – he’s from Tibet…)
Si può fare (We Can Do That), Giulio Manfredonia, Italy, 2008
Yeong-hwa-neun yeong-hwa-da (Rough Cut), Jang Hun, South Korea, 2008

Jury
Danny Boyle – President
Jianxin Huang (Chinese director)
Xavier Koller (Swiss director)
Komaki Kurihara (Japanese actress)
Andrew Wai Keung Lau (Hong Kong producer/director/cinematographer)
Andie MacDowell (American actress)
OH Jungwan (Korean producer)

To read synopsis for each film go here. I suggest you check the films competing for the Asian New Talent Award as there are some that could be interesting, please go here.

Really diverse films in the Competition, check trailers for most movies @ Movie On Companion