I figli del fiume giallo

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Un film di Jia Zhangke. Con Zhao Tao, Liao Fan, Zheng Xu, Casper Liang, Feng Xiaogang.
Titolo originale Jianghu ernü. Drammatico, Ratings: Kids+13, durata 141 min. - Cina, Francia, Giappone 2018. - Cinema uscita giovedì 9 maggio 2019. MYMONETRO I figli del fiume giallo * * * 1/2 - valutazione media: 3,53 su 27 recensioni di critica, pubblico e dizionari.

Polaroid of Ash Is Purest White Valutazione 4 stelle su cinque

di CineFoglio

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sabato 9 novembre 2019

The last Jia Zhangke’s film was selected at Cannes 2018, won the Best Performance by Actress at Asia Pacific Screen Awards 2018 and Best Screenplay at Asian Film Festival 2019.
«Ash Is Purest White» is an emblem of Jia’s vision of cinema and Art. Full of auto-references, the noir-gangster story talks about a love across the years stocked in a pendulum between proud and duty, dreaming and refuse.
Probably one of his most European type of film (thanks to the incredible cinematography of Eric Gautier) where the images are perfectly collocated in a breathless narrative – urban landscapes and silent portraits.
Starring his favourite actress Zhao Tao as Qiao, second hand and lover of big brother Bin, interpreted by Liao Fan, the two protagonists live in Datong, an old mining city, ruling a group of gangsters. After the murder of the previous Boss, things are going worst until a surprising assault of bikers, affiliated to another group, while they were going out, during the night. Qiao’s life changed suddenly, «Touched by her Sin», in a dramatical way with unexpected outcomes.
Undoubtedly, in this little masterpiece, all the elements of Jia’s filmography can be found.
Mines and rural situation where the poor workers are forced to emigrate due to the decreasing of coal’s price.

The usage of different formats and screen-ratio jumping from a digital recording to an analogue, quiet vintage film.

Trains and railways connecting the entire country, icons of the idea of progress as during the Modern Age.

The division of the plot in 3 Acts with three different time-lines during a time-arc of 17 years where the first explain the moral background of the protagonists.
The second is the main part which shows the consequences of Qiao’s and Bin’s behaviour.
The third and last part present a bitter epilogue, hopeless and inevitable.

The Western Dream here personified as two ball dancers, with frowning faces, performing inappropriately – or ironically, in a traditional funeral.

Again, German cars and the devotional statue of Guan Yu, protector of Jianghu’s members and their goodwill.

A huge number of cigarettes as a symbol of virility and power – far from the devotional connotation presented in «Mountain May Departs» (2015).
In the end, «Ash» is a film about love, how it could be strong and resilient as Qiao’s heart and at the same time volatile and temporary, even exploited. A picture of deep feelings – where everything that burns at high temperature became white, the colour of purity.

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