I got mixed feelings. On one hand, it must be considered the political context where it was produced that made it difficult to go any further in a realist effort and in a criticism against the regime. On the other, after having seen the mute and terrifying realism of Wang Bing's Three Sisters I was not able to receive Zhang's romantic and idealistic depiction of rural China.
Un relato sobre la obstinación puesto en un personaje amoldado por el abrigo político y otro de una honorabilidad innata. Aquí el gran protagonista es esta última, una mujer quien "literalmente" defiende la virilidad de su esposo, postrado, casi castrado, por culpa de un conflicto que puso en jaque la virilidad de un humillado. Es decir, Yimou promueve a una mujer que decide resolver un problema de hombres. Ironía.
Few films relish this much in the material found culture they set camera's gaze on. Rohmer is said to have heaped an accurate record of minute change in casual appearance with a disguised nonchalance that hid his sartorial preoccupation. Here, despite the soured, officialdom-redeeming story which makes a pendant with the Douanier Rousseau, Brilliant Green botanical phantasmagoria that is Huo Jianqi’s “Postmen in the
i lived in one of the oldest cities of manchuria (and travelled to gong li's hometown frequently) years ago, and this film really captured so much of what i remember from that time and place. but most effective, was yimou's presentation of a certain mindset (well, mindsets, really), and despite the frustrations associated with that, i love having those memories caught on film.