The World is here shown to us as series of digital fragments, as if ripped from television adverts. A story of poverty in the setting of an around-the-world theme park, the emotional nuances of relationship of Tao and Taisheng are dwarfed by the brutal monotony of their milieu. Similarly, the camerawork isolates their bodies within the surreal yet stark architecture of suburban Beijing, reminiscent of Red Desert.
os marcos de cada cidade do capitalismo são macro maquetes reunidas no parque em pequim. no entanto, essa modernidade é capenga e aparente: a protagonista não consegue dialogar com sua melhor amiga, uma imigrante do leste europeu. nos filmes de jin zhang-ke, todo o mundo parece um túmulo das utopias antigas: todas atravessadas pelos marcos do capital e do consumo.
What really seems to work it the strong contrast between the limited chances of the characters and the whole "World" that they work in. The film catches the illusions, paradoxes and dislocations of globalisation. Zhao Tao great as usual (but so is the cast as a whole). At the end one might think back to her opening calls for a band-aid, as if that would be enough to cover the social and personal damage that unfolds.
Friendship and romance backstage at the Beijing theme park THE WORLD. There's some good stuff here but it has difficulty emerging from the rather monotone presentation. The opening scene and protagonist Tao 's friendship with a Russian performer are the highlights.
Aesthetically, there's certain skill for long takes and tracking shots in "The World." It felt almost like a digital Scorsese in places, though it's Jia Zhangke's gift for framing that lends the film much of its grounded beauty. It's the patient characterization that wins you over, though. A gem.