Beijing: young men in packs, machismo, class divisions, violence, and indifference. Guei arrives from the country: toothbrushes, hotel foyers, and Qin, a rich neighbor in high heels, dazzle him. He gets a job as a messenger. The company issues him a bike, which he must pay for out of his wages. When it is stolen, Guei hunts for it. A student, Jian, has it; for him, it’s the key to teen society – with his pals and with Xiao, a girl he fancies. Guei finds the bike and stubbornly tries to reclaim it in the face of great odds. But for Jian to lose the bike would mean humiliation. The two young men – and the people around them – are swept up in the youths’ desperation. —IMDb
Wang Xiaoshuai (simplified Chinese: 王小帅; traditional Chinese: 王小帥; pinyin: Wáng Xiăoshuài; born May 22, 1966 in Shanghai) is a Chinese film director, screenwriter and occasional actor. He is commonly grouped under the loose association of filmmakers known as the Sixth Generation of the Cinema of China.
Many of Wang’s works are known for their sensitive portrayal of teens and youths, most notable in films such as Beijing Bicycle, So Close to Paradise, Drifters, and Shanghai Dreams. His 2008 film In Love We Trust was an exception as it portrays marital strains.
He also served as a member of the jury of the BigScreen Italia Film Festival 2006, held in Kunming, Yunnan, China. —Wikipedia
It makes such a big effort in being a touching film at any cost just to get the inmediate emotional favor of the audience. "Beijing Bicycle" or "Bicycle of the seventeen years" can't go very deep and it finally remains only on what's visible from the iceberg of social/individual issues: the mere anecdote with no other contribution.
In Beijing, there are traffic signals that flash green or red in the shape of a bicycle. This is only one of the signs that we’re not in Kansas anymore. Bikes of all shapes and sizes fill the streets… read review