Wednesday, May 20, 2015

“May departure Mountains” by Jia Zhang-Ke: not totally epic … – The Express

Here we arrived at mid-term and one thing is clear: the official selection disappoint the great authors: Kore-Eda, Weerasethakul, Van Sant, Allen … Only Moretti narrowly escaped this downward spiral. And again, we calm down, Madre Mia is not a major film. It’s just a good movie. However, in this edition, it will a priori have to be satisfied with this accuracy. In the final stretch, hopes rest on the trio: Audiard, Hsien Hou Hsia and therefore Jia Zhang-Ke, is relevant here.

The master disappoints

Unfortunately for us, the Mountains May departure is not very good. Yet we wanted to believe in this saga in three jiffy: 1999, 2014 and 2025. Zhang-Ke has become the surest indicator of economic, sociological and cultural changes of his country, which he poses look both critical, violent and melancholy. Platform (2000), Still Life (2006), 24 city (2010) or A touch of Sin (2013), as beacons to measure the deployment of a great author and developments of a country-monster. This masterful line promotes respect and will be difficult to critical-moviegoers to confess to the master that on this one if it is not, or at least not completely.

The soundtrack announces the plot of storms

The film begins in 4/3. We are in 1999 in the province of Fenyang. The tube Go West Pet Shop Boys, resonates at full blast. And in fact, China is poised to surpass the West and singer to become an uninhibited capitalist society. The pretty young Tao (! Incarnated by the muse Zhao Tao whose time seems to have no effect on her physical) is torn between two men: the arrogant upstart Zhang and modest and discreet Lianzi. Tao chooses the most enterprising of which was however soon realized that it is a bastard. And in fact, Zhang bought the coal mine in which work and dismisses his rival on the field. The naive Tao sees nothing and goes with the bad. Lianzi therefore decide to leave.

At the end of the first chapter. The charming Jia Zhang-Ke take this opportunity to place his name, that of his film and stretch his framework (the effect Mommy ). The use of sound in this first part is remarkable. Everything goes through him also: explosion, electro music … to create sharp breaks that announce the coming storms. The second part takes us in 2014. We find Lianzi, poor and cancer. He returned with his wife and child in the country he left 15 years earlier and found Tao, a divorced mother of a little “Dollar” (hey, hey, hey!) Things go wrong so seriously.

an unusual A final

Zhang-Ke juggles subplots, sacrifices his characters and uses scriptwriting strings to get us to the third and last part. A futuristic game (we are in 2025) devoted entirely to dollar became a lost young man living with his father in Australia. “Dollar” does not speak Chinese, despised his father and would love to give meaning to his life. For that he will fall in love with a teacher who could be her mother and so make a small transfer to the one he has not experienced. All that will end at the edge of a mother – forgiveness of a sea – agitated to blow definitive sentences like: “Your freedom is yours” or “Time does not change anything.” You want to add: “All for it?”

Two years after his script for Award A touch of sin , the Chinese Jia Zhang-ke defies time and space to tell us about the fate of several characters in China yesterday, today and the future, even getting lost on the way.


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