嘉年华 Jia Nian Hua (Angels Wear White, 2017)

Following my review of Dead Pigs earlier today, another recent Chinese film to make waves, and not just because it was the only film directed by a woman in competition at the prestigious Venice Film Festival in 2017, is this one, Angels Wear White. In it second-time director Vivian Qu challenges sexually predatory men within Chinese society, part of what is implied to be wider corruption at the heart of the society, and a welcome challenge no doubt.


There’s a lot of discussion these days (and rightly so) about the destructive effect of sexual violence within patriarchal and authoritarian power structures can have on young women, and this film is a fine example of a situation in which institutional deficiences fail the people society is supposed to protect. It sets up a scenario involving a number of characters, each of which has their reasons for overlooking or excusing a horrific crime (the rape, not seen on camera, of two young girls by a corrupt police official). In many ways this is the same setup as another film I saw in the London Film Festival the same year (Beauty and the Dogs) but it’s done far more sensitively to my mind. The girls’ point of view is necessarily laconic, but we see their parents find reasons not to press charges, preferring to think about payouts and education in an area deprived of resources for this, while another strand follows a witness to the crime: a slightly older girl who has similarly been mistreated, having run away at a young age and is now living without the necessary government ID required to receive any support, doing menial cash jobs for little reward. In many ways she represents the younger girl a few years later, having toughened up and run away to a bigger city, but still prey to predatory men hanging around, offering the basic necessities of life in exchange for money or favours. It’s a corrupt society, no mistake, only exacerbated by the literally enormous metaphor of female sexuality on high heels that stands overlooking the seaside resort where it’s set.

Angels Wear White film posterCREDITS
Director/Writer Vivian Qu 文晏; Cinematographer Benoît Dervaux; Starring Vicky Chen [or Wen Qi] 陳文淇, Zhou Meijun 周美君; Length 107 minutes.
Seen at Curzon Soho, London, Thursday 18 October 2018.

Women Filmmakers: Sólveig Anspach

I’ve not been having the greatest success at keeping my ‘Women Filmmakers’ Wednesday’ strand going, so I’ve decided to change it up a bit to be more film-focused. I recently watched two films by French-Icelandic director Sólveig Anspach, and they each struck me as interesting works. Digging into her biography, she was born in 1960 of an Icelandic architect mother and a German-Romanian father who had fled Nazi Germany. She studied psychology in Paris, and then filmmaking at FÉMIS, and lived much of her life in France. She sadly died of cancer not so long ago (2015) at the age of only 54. She has a number of documentary works to her name, as well as these feature films below (two of six features she made in total, or seven if you include her TV film) — for some reason each of them having an English language title, even in France. Needless to say, I believe she deserves to be better known.

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