The existential day after The Shop Around The Corner. What is the true price of the present if the future is so uncertain? A woman's personal life is traded for currency her relationships gradually internalize the existential crises of the 21st century stuck between losing the past & losing the future later revealing to us the slow conditioning of advanced capitalism's global takeover with a stand in oedipal mother.
The beauty of the characters' framings in the urban and industrial landscapes of China (something that Zhangke has already done superlatively), is determined by an expositional story of loving losses that loses a lot with the third part, of a trivial dramaticity and formality (despite the screen's enlargement and an idea of memory as a remaining echo). This way, the possibilities of a bigger melo+drama are reduced.
A brave effort and a terrible mess. Trying to age actors over a lifetime is always tricky but it's the lack of character development with Tao Zhao that shows the first crack. By the time we arrive in futuristic Australia everything falls apart with caricature and melodrama. 2.5 stars
The third act completely falls apart, and even the first two parts of the film feels so inadequate in relating the complexity of love-triangle relationships. For a fantastic love-triangle film, see Hong's 'Oki's Movie'. As a commentary on tradition-modernity, it's incomparable to the rest of the director's work. A major disappointment.
Jugando con la lógica del melodrama, Jia entrega un relato de tres dimensiones que exploran la destrucción de unas relaciones en el marco de la China contemporánea. El amor y el dinero funcionan como elementos que corroen los sentimientos y el paso del tiempo destruye todo, incluído el propio aspecto de la película. Contiene el mejor uso de una canción de Pet Shop Boys que se haya hecho en el cine: ¡¡Go West, Jia!!
FNC '15 Three time periods and three aspect ratios are the groundwork for this incredible film from Jia Zhangke looking on the effect of capitalism and materialism on three friends between 1999 and 2025. Performances are dynamite especially Zhao Tao, who figures in all three parts, and Sylvia Chang in the final segment. As economic prosperity grows the importance of family, culture and language wan. Major film.
zhangke is smarter than 90% of "directors" working today, and is willing to take enough risk so that surrealism disconcerts rather than shock and provoke. but this is a film about culture and history and it's wipeout, disguised as family melodrama. and how we need to acknowledge history so we can prevent the same sinister cycles from repeating themselves again and again
I was one of of few who, as a big Jia fan, was pretty disappointed by A Touch of Sin. I love Mountains conceptually. It is a real coup. The use of 1.33/1 in the first section is glorious. Many complain about the actors in section three. The nature of the performances strikes me as a metaphor for dislocation and confusion, foregrounding the significant gulf between the Chinese and the Western experience of the world.