Four Films by Jia Zhangke: The World (2004), Still Life (2006), Dong (2006) and 24 City (2008)

One of the great contemporary Chinese filmmakers is currently Jia Zhangke, who made A Touch of Sin (2013), one of my favourites of the decade. His interest in small people dwarfed by huge government building programmes or infrastructure projects seems to run through his films, and is certainly evident in the screenshots (seen here) of the three narrative feature films (and one documentary) I’m reviewing in this post, all from the 2000s. However, more than that, they seem to be about people who are alienated from their society, or otherwise find difficulties in being connected, people who slip out of the system or are trying to keep in touch despite enormous societal changes going on around them.

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三城记 San cheng ji (A Tale of Three Cities, 2015)

BFI London Film Festival This film was presented at the London Film Festival, presented by the CEO of the BFI along with the film’s director and producers, who stayed for a Q&A afterwards (though I had to dash off to my next film).


It may be based on real people (the parents of film star Jackie Chan, apparently), but this sweeping historical romance in fact subsumes itself into a familiar overheady melodramatic register, making it a struggle to glimpse the reality behind the burnished cinematography and period set recreations. Still, it’s never boring and occasionally even transcendent at evoking Anhui (a province, not a city, as far as I can tell) and Shanghai during World War II. The third city of the title is Hong Kong, to which the family escapes after the coming of the Communists, and it’s where the film starts out, which may head off worries about our lead characters’ survival, though there’s still plenty of nail-biting tension in the backstory which the following two hours builds up. At the heart of the piece are Sean Lau and Wei Tang as the lovers Daolong and Yuerong, who first meet in a small fishing village when she is caught by him smuggling opium but then released because things are too chaotic and he feels a tug of pity. Like any good epic, the setting changes from scene to scene such that recounting the twists and turns of the plot is difficult, suffice that between Shanghai and their homes in Anhui province, they are reunited once again and fall in love. They each have two kids from previous marriages, but those seem like the story’s losers (certainly their fate is not dwelt upon), as Daolong and Yuerong struggle to make a home for themselves somewhere away from the threat of violence and governmental oppression. Perhaps the past is the safest place to tell a story of people who were openly working against the Communists, but it still imparts a frisson of topicality, and whatever the film’s weaknesses, a fondness for grand storytelling in the David Lean style is not one of them.

A Tale of Three Cities film posterCREDITS
Director Mabel Cheung 張婉婷; Writers Cheung and Alex Law 羅啟銳; Cinematographer Wang Yu 王昱; Starring Sean Lau 劉青雲, Wei Tang 汤唯; Length 130 minutes.
Seen at Cineworld Haymarket, London, Thursday 15 October 2015.