Directed by:
Zhangke JiaScreenplay:
Zhangke JiaCinematography:
Nelson Yu Lik-waiComposer:
Giong LimCast:
Wu Jiang, Baoqiang Wang, Tao Zhao, Vivien Li, Jiayi Zhang, Lanshan Luo, Hongwei Wang, Lu Liu, Zhangke Jia, Zhubin LiPlots(1)
An angry miner revolts against the corruption of his village leaders. A migrant worker at home for the New Year discovers the infinite possibilities a firearm can offer. A pretty receptionist at a sauna is pushed to the limit when a rich client assaults her. A young factory worker goes from job to job trying to improve his lot in life. Four people, four different provinces. A reflection on contemporary China: that of an economic giant slowly being eroded by violence. (Arrow Films)
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Reviews (2)
Four stories from China about violence, prostitution, corruption and the power of money. The film includes simple symbolism, slight perspective, but all four parts are too long. The protagonists are sympathetic only when they pick up a shotgun/pistol/fruit knife. In addition to the excessive length, the film also has a problem with not knowing when (and how) to end.
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After watching this film, I definitely understood that here are too many Chinese people in the world. It was torturous watching this toothless entanglement that formally became shameful in the 1990s - I haven’t seen anything this schematic and empty in a long time. It is nice that the film always surprises, but since it completely lacks characters and confuses them with walking nothingness, it's nothing meritorious. There is no point in asking why, just who and how. Four awkwardly intertwined stories, the first and last of which are bearable (the first with a hint of reason and the fourth with a hint of adequacy), but the middle two border on absolute dementia (when a digital snake passed over the screen, I really wanted to shoot something) and naive symbolism. It is quite sad that politically correct awards are given at Cannes - this script is only good for wiping the ass of a naughty Chinese brats, but of course it has the appropriate humanistic-critical overlap. But they also have frustrated swearing when sitting and having a beer and palmes are not given for them. A Touch of Sin is proof that Asian cinema sucks. Everyone to the balcony, Chinese people are going to be born!
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Photo © Koch Lorber Films
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