China Best Films- Page 2 of 2

The Road Home (China) – Fall in Love with Zhang Yimou’s China

The Road Home Film Difficulty Ranking: 2

Are you looking for a love story that will warm your heart? Or are you looking to explore rural China and all it’s customs and culture? Either way, check out The Road Home, a beautiful love story set in rural China directed by Zhang Yimou. Currently available to watch here on Amazon (for rent)

Why Watch The Road Home?

If you’re in the mood for a romantic love story
You’re a fan of Zhang Yimou’s martial arts films (Hero, House of Flying Daggers) and you want to see him explore something different
To learn about customs (and superstitions) in rural China
See how different school is in this film

The Breakdown

The first part of The Road Home is shot in the present day in dull black and white. Luo Yusheng arrives at his family home in rural China having traveled from his home in the city. His father has just died, and he’s come home to keep his mum company and sort out the funeral arrangements.

Tradition says you need to carry the dead all the way home whilst shouting out ‘this is the way home’ to remind them how to return. Yusheng’s mum is adamant that he must honor this tradition for their father. However, this tradition has rarely been carried out since the Cultural Revolution in the 60s and 70s. Whilst he’s figuring out what to do with his father’s body, the narrative switches to the story of Lusheng’s parents romantic courtship which has become a legend in their hometown.

Is this film a challenge to the state of Communism in China?

On the surface, The Road Home appears to be a regular love story. But, if you pay a bit more attention, you’ll see an underlying critique of the state of Communism in China.

In The Road Home, Zhang Yimou critiques the loss of culture. You’ll hear this first when the mayor says that the traditional burial mentioned above has not been done since the Cultural Revolution (a subtle jab against the Cultural Revolution for taking away part of Chinese Culture). But, more obviously the critique is present in the film’s portrayal of the past.

Whilst the present is shot in a dull black and white, the past is shot in vibrant colour. The colour reflects the emotion and hope embedded in the past, when the Communist Revolution was still young. In contrast the dull black and white of the present symbolises how the hope and optimism of the Communist Revolution has disintegrated and has taken culture and emotion with it.

Image result for the road home film

Conclusion & What To Watch Next

The Road Home is a beautiful love story set in rural China. Luckily for all of you who don’t want to settle for pure cheesy romance, there’s much more to this film than initially meets the eye. Because if you look carefully, you’ll see the subtle critique of the direction of Chinese Communism.

If you want more romance, click here to explore all the films under in our Love film category.

Or if you’re looking for more Chinese film, head over to our Chinese film page. We recommend checking out A Touch of Sin for a more brutal depiction of life in contemporary China.

Purple Butterfly (China) – Wartime Resistance

Purple Butterfly Film Difficulty Ranking: 4

You might find Purple Butterfly confusing to watch at first. It’s not clear what’s going on because of the constant cutting and lack of dialogue. However, if you watch on, you’ll be rewarded with a film that is stylistically different from many you’ve seen and uniquely beautiful.

From: China, Asia
Watch: Trailer, Buy on Amazon,
Next: The Grandmaster, Summer Palace, Burning

Big Fish and Begonia – China’s Answer to Studio Ghibli?

Big Fish and Begonia Film Difficulty Ranking: 2

When a film is described as a combination of Disney’s The Little Mermaid and Studio Ghibli’s Spirited Away you should pay attention. Visually Big Fish and Begonia deserves the recognition. It is China’s biggest animation of all time and definitely matches the scope of the biggest animation films from around the world. If you’re a fan of the art of animation, this is for you – just don’t pay too much attention to the storyline!

Why Watch Big Fish & Begonia?

You’re a big fan of animation and the fantasy worlds it can create
To see China’s biggest animation ever!
You like the films of Studio Ghibli (see Princess Mononoke, Spirited Away) and Disney (The Little Mermaid)
For some strong allegories of the perils of global warming

The Breakdown

We don’t care about the important questions any more. This is how a narrator opens Big Fish and Begonia. We sleep, we commute, we work, we eat, we sleep, and before long, we die.

Unfortunately, the dreamy philosophical musings didn’t last long. Or at least, they got lost in the confusing story-line. Instead, you should focus on the incredible visuals and appreciate the sheer scope of the animation. It also matches the scope of the great Studio Ghibli and dominant Disney.

You’ll also notice the very strong allegories to the importance of mother nature and the threats of global warming (there’s human trees and great floods). In fact, with no evil villain, the imagery of global warming is the main threat to the human characters. Global warming and nature have been themes of many of Disney and Studio Ghibli’s films. s this a first in Chinese animation?

Image result for big fish and begonia

Conclusion

You’ll see the strange creatures and beautiful landscapes you expect to find in Studio Ghibli films. You’ll also see the magical animals you often see in the Disney classics. However, unfortunately the story-line doesn’t match the beautiful visuals.

If you’re a fan of the art of animation you’ll appreciate this film but if you’re all about the storytelling you may find this hard to watch.

The Endless Cycle (China) – Pan African Film Festival 2021

Last year at the start of the pandemic, discrimination against African immigrants in the Chinese city of Guangzhou hit the international news circuit. A McDonalds branch refused to serve Black people in the city, there were reports of Black students being evicted from their accommodations, and there were reports of a Nigerian man attacking a Chinese nurse. It’s within this context that The Endless Cycle is set, featuring a Ghanaian immigrant in Guangzhou. The opening scene addresses the tension straight away with the protagonist watching the Chinese news report on the Nigerian man that attacked a Chinese nurse.

The Endless Cycle feels like a documentary in the way that we follow the main character’s everyday life. It features the monotonous tasks in his routine, such as cycling from place to place, Face-Timing friends and relatives, and working at the office. There’s not much dialogue either to make it feel more like a drama. In his routine, we get a glimpse into life in COVID era China where temperature checks and QR code tracking are just part of the new paradigm. It looks more normal than quarantine life elsewhere in the world, making it interesting to see for the American viewer.

However, the documentary style is a bit misleading as there are some scenes which are obviously dramatized, such as the scenes between the main character and his boss’ kid at work. The dialogue in these scenes feels more forced and unnatural. The most obvious example of this is the Taxi Driver scene which ends in him fighting a taxi driver in the road. What is probably meant to highlight the prejudice against Black people in China (with the taxi driver’s avoiding him) ends up supporting ignorant stereotypes of Black male aggression and thereby ruining the otherwise interesting portrayal of the Black experience in China. It also damages the credibility of other scenes that we may have otherwise trusted. Because of the obvious dramatization in certain scenes, it feels like this is probably more of a Chinese perspective of the Black experience in China.

Therefore if you’re looking for a film which shows a Chinese perspective of the Black experience in China, The Endless Cycle is worth a watch. However, if you’re looking for a movie about the Black experience in China told by a Black person, The African Who Wanted to Fly might be the closest you can get.

Check our Pan African Film Festival 2021 page for more reviews coming out of the 29th edition of the festival.

Someday or One Day – Tragedy Strikes Love in a Puzzling Story

By Sebastian Torrelio

More so than the mystery of where Huang Yu-Xuan (Ko Chia-Yen) and Wang Quan-Sheng (Hsu Kuang-Han) have gone—where their spirits have bounded off too, whom takes the place of which body and how they return—is the mystery of how Someday or One Day, an adaptation of the hit Taiwanese television drama, went so terribly south. Primary director of the original Tien Jen Huang returns here to create a baffling story of dualities reflected against identical-looking dualities, an improbable mess that only rides so far on cute delicacy before the tape unwinds entirely.

At first, things seem steady, though speedy. A wistful camera wanders over pristine decorative interiors like a gift shop, so much of the plot to come only teased through low-budget VFX snapshots. Quan-Sheng and Yu-Xuan, having met-cute at record pace, are two entities who spend most of their time longingly sighing and staring out into the distance, their vague young adult concerns very present, though indecipherable. Teens at odds with their singularity, so commonplace in the drama of modern Chinese media, cannot just be scanned for relatability – something needs to be presented to the viewer, clearly.

And so enters the plot of Someday or One Day – shocked from the sudden death of Quan-Sheng, Yu-Hsuan spends her years daydreaming away from society, stuck in her own head, before waking up years later in the body of a mutual friend Chen Yun-Ru (also Ko playing a double role) years prior before her love’s demise. Yun-Ru finds herself in the most complicated role perceivable, forced to convince her friends from their past of their oncoming danger, barely able to articulate the hell she’s been pacing through ever since.

To Ko and Hsu’s credit, nothing about their performances here drag, the success of their well-established chemistry is the only real ingredient to make the movie’s breakthrough romantic first kiss come close to operating. Quan-Sheng and Yu-Xuan relate through their favorite couple song, lifted from the TV series; they incur the abusive collateral of time spent together equal to time spent apart. If everything seems trivially, tonally normal in their lives, maybe it’s because it should be, for the most part.

The most interesting thing at play with Someday, as with a lot of Chinese rom-coms in this vein, is the relationship of everyday individuals to their romantic fate: if it’s coincidence that brought us together, is it coincidence that is keeping us together? Altogether, not a bad question that “Someday asks directly at least once. Huang even guides us to a different existential question: are dreams the barrier to our happiness? The normalcy of a relationship growing into, outward and apart can and has been subject to a more inspective eye than this hundreds of times, on better and easier to ascertain platforms.

The original TV series, spanning 13 episodes that dive deeper into the sinister mystery behind Quan-Sheng and Yu-Xuan’s body bouncing history and conundrum, gained acclaim for its nourishing continuum, a collective audience experience that intertwines pop tendencies and true-hearted romance. How this film adaptation, branded neither specifically as a sequel nor a creative reboot, functions parallel to that is beyond comprehension.

Seen at AMC Atlantic Times Square 14, Monterey Park