A gem of a short film on Amazon Prime. The film is set in Mali and London, and captures in a stark and humane way one of the reasons people migrate to the West. I had little knowledge of the civil war in Mali and the rise of Islamic fundamentalism in the country until I saw this film. Some of the younger actors are superb.
Reviews
6 Reviews
Platform
(2000)
Original, Uncut Version Superior
7 October 2013
This is one of my all-time favorite films for all the reasons identified by other reviewers. Until recently, I had only seen the 154 minute version, which was released in theaters and on DVD. I just saw the original, uncut version, which is 193 minutes long, and it is markedly superior. Not only does it fill in many of the gaps that make the shorter version seem somewhat disjointed, it has several brilliant scenes that had me shaking my head wondering why they were cut from the theatrical/DVD release. I understand that Jia Zhangke is working on a director's cut of the film, which will hopefully do some necessary trimming, but also restore these scenes.
The Lady
(2011)
Entertaining but lacks authenticity
13 September 2011
Notwithstanding the fact that The Lady is entertaining and watchable, it lacks any feeling of authenticity. I guess that this is not surprising given that the director and screenwriter are both Westerners, and the lead is played by a non-Burmese actress. The scenes involving the Burmese generals are unintentionally funny - every time they appear on screen "Darth Vader" music starts playing, and they are hilariously one-dimensional. Interesting, the film also has several product placements for U2 (a song, a t-shirt, etc.). I saw this film at the Toronto International Film Festival and was half-expecting Bono to walk out with the Luc Besson for the Q&A.
Unknown Pleasures
(2002)
Indie Filmmaking with a Social Conscience
8 November 2002
Unknown Pleasures is the first Jia Zhang Ke film that I have seen and it is excellent. The setting is a town in the north of China, but it could be anywhere in the developing world - India, Argentina or South Africa, for example - where neo liberal economic policies have benefitted the urban elite, but created dislocation for millions of others. The director undoubtedly has a deep social conscience.
The film focuses on several young people, members of China's "new new" generation. As the films progresses, we see what the new world order offers them - US currency, American pop culture, the 2008 Olympics, new super highways - contrasted with the reality - few opportunities for young people, laid off state factory workers and a general degradation of moral values. The message is clear: the new world order offers common people everything in return for giving up traditional ways of life, but actually delivers little of substance. As Bin Bin puts it when he finds out that his girlfriend is going to Beijing to study international trade: "WTO is nothing. Just a trick to make some cash."
The social realist style - it has a bit of a documentary look to it - and the pop song which the film is named after and which features prominently in it (Ren Xiao Yao - the lyrics speak about youth alienation, particularly a desire for freedom and pleasure) also provide a cutting edge look and feel. The song is emotive and will strike a chord with those who like explorations of youth alienation.
However, the film, as befits the political and artistic climate in China, is very subtle and understated, and may escape those who have little knowledge of current affairs in China or an insensitivity to the economic and social dislocation that is taking place outside the big cities (this is not a good date movie for the corporate Western expat and his urban Chinese girlfriend who measure progress by the number of new condos and Western restaurants in Shanghai).
This is great indie filmmaking, though, and I would particularly recommend it to socially and politically aware twenty and thirtysomethings who like artistic expression that is intelligent, socially conscientious and cutting edge.
The film focuses on several young people, members of China's "new new" generation. As the films progresses, we see what the new world order offers them - US currency, American pop culture, the 2008 Olympics, new super highways - contrasted with the reality - few opportunities for young people, laid off state factory workers and a general degradation of moral values. The message is clear: the new world order offers common people everything in return for giving up traditional ways of life, but actually delivers little of substance. As Bin Bin puts it when he finds out that his girlfriend is going to Beijing to study international trade: "WTO is nothing. Just a trick to make some cash."
The social realist style - it has a bit of a documentary look to it - and the pop song which the film is named after and which features prominently in it (Ren Xiao Yao - the lyrics speak about youth alienation, particularly a desire for freedom and pleasure) also provide a cutting edge look and feel. The song is emotive and will strike a chord with those who like explorations of youth alienation.
However, the film, as befits the political and artistic climate in China, is very subtle and understated, and may escape those who have little knowledge of current affairs in China or an insensitivity to the economic and social dislocation that is taking place outside the big cities (this is not a good date movie for the corporate Western expat and his urban Chinese girlfriend who measure progress by the number of new condos and Western restaurants in Shanghai).
This is great indie filmmaking, though, and I would particularly recommend it to socially and politically aware twenty and thirtysomethings who like artistic expression that is intelligent, socially conscientious and cutting edge.
He ni zai yi qi
(2002)
Hollywood with Chinese Characteristics
19 October 2002
After falling flat on his face at attempting to make a Western film (the awful Killing me Softly), Chen Kaige has decided to try something in between a Hollywood film and a Chinese film, or to paraphrase many a Chinese leader, "Hollywood with Chinese Characteristics". It is a total success or a total sell out, depending on what you are looking for.
The plot will be very familiar to anyone who watches Hollywood films or American made-for-t.v. movies. A child musical prodigy from a poor family comes to the big city with his father to try find a teacher, gain recognition and be selected for a prestigious music recital; obstacles come up along the way, etc. What is different about this film, of course, is that it does not take place in America. It is set in China with Chinese characters speaking Chinese. This film is competently made and will work for the people it is made for - Westerners who like films with a Hollywood structure and an arty veneer (the Asian aspect of the film being the arty veneer) and the Westernised urban elite in China. Others, however - anyone who hates Asian films that ape Hollywood or admirers of social realism - will probably hate it and mark it as the point where Chen Kaige totally sold out.
The plot will be very familiar to anyone who watches Hollywood films or American made-for-t.v. movies. A child musical prodigy from a poor family comes to the big city with his father to try find a teacher, gain recognition and be selected for a prestigious music recital; obstacles come up along the way, etc. What is different about this film, of course, is that it does not take place in America. It is set in China with Chinese characters speaking Chinese. This film is competently made and will work for the people it is made for - Westerners who like films with a Hollywood structure and an arty veneer (the Asian aspect of the film being the arty veneer) and the Westernised urban elite in China. Others, however - anyone who hates Asian films that ape Hollywood or admirers of social realism - will probably hate it and mark it as the point where Chen Kaige totally sold out.
Me mage sandai
(2000)
Groundbreaking Asian Film
18 May 2002
This is a groundbreaking Asian film. First, it is truly "alternative". It rejects, to a significant extent, traditional Western styles of filmmaking and tries to create a distinct "Asian" or "Sri Lankan" style. There is no tracking or fading in or out of scenes, simply cuts. Apparently, the director tried to shoot this film in a style similar to the Buddhist murals that one sees in Sri Lanka and other countries in South and Southeast Asia. It works well, but is bound to alienate viewers - particularly Westerners but also Asians - who cannot appreciate a film outside the parameters of Western filmmaking techniques.
Second, the film has a strong Asian character. It is a highly effective exposition of the extent to which the war in Sri Lanka has degraded rural village life, to the point where every act and thought is circumscribed by the war. There is also an interesting examination of the relationship between gender and ethnicity and a devastating critique of corruption in organized Buddhism.
This is a brilliant film, and has won an award at least one film festival (not surprisingly, at an Asian festival-the Bangkok International Film Festival), but it may be ahead of its time. I suspect that its value may only be appreciated 10-20 years down the road, when a threshold of distinct Asian filmmaking has been reached.
Second, the film has a strong Asian character. It is a highly effective exposition of the extent to which the war in Sri Lanka has degraded rural village life, to the point where every act and thought is circumscribed by the war. There is also an interesting examination of the relationship between gender and ethnicity and a devastating critique of corruption in organized Buddhism.
This is a brilliant film, and has won an award at least one film festival (not surprisingly, at an Asian festival-the Bangkok International Film Festival), but it may be ahead of its time. I suspect that its value may only be appreciated 10-20 years down the road, when a threshold of distinct Asian filmmaking has been reached.
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