Using a split perspective that is hardly seen (even) in films of this nature to entangle several female experiences, it is this sensitivity to exploring the aftermath of the events that makes Angels stand out while being otherwise fairly pedestrian. Like many festival films from China it is bleak and despairing, the anger delivering a visceral and emotional blow in the final 20-minute stretch.
Expertly directed with superb performances and a cleverly crafted story that's reminiscent of Asghar Farhadi's A Seperation. Angel's Wear White is a damning yet poetic comment on political corruption, gender politics and the fragility of childhood. Zhou Meijin has a huge future ahead of her. 4.5 stars
Une certaine décontraction filmique et une fausse légèreté existentielle n'entravent nullement une aberrante et consensuelle représentation de la compromission et de la corruption, aussi bien individuelles que collectives, où l'argent se positionne désormais comme seul vecteur social, loin devant l'idéologie et la morale ancestrales... www.cinefiches.com
From an aesthetic point of view “Angels” reminds me a lot of Dardenne brothers’ films. Mundane realism about the harsh reality that breaks those people who are in a fragile position – in this case young girls and working women. As much as “Angels” is about misogyny it’s about opportunism, money and corruption in contemporary China. A theme that keeps popping up in Chinese cinema, most likely for a reason.
Despite the movie being nothing truly exquisite, it sure is well made and it raises an interesting topic - or at least it does so in an interesting way: the female condition in China is seen through the involvement of many characters in a crude event that happens to two young girls. All the girls and women are powerless, and driven by events. The main character (an illegal immigrant) reflects all of them.