Karry Best movie of this year hands down!

Lucybespro It is a performances centric movie

Noutions Good movie, but best of all time? Hardly . . .

Glimmerubro It is not deep, but it is fun to watch. It does have a bit more of an edge to it than other similar films.

Niv_Savariego "...as soon as the vocal signs strike your ear, they announce to you a being like yourself. They are, so to speak, the organs of the soul. If they also paint solitude for you, they tell you you are not alone there." (Rousseau)Zhang Ke's film is an incomplete song or a negotiation. Negotiation because he seems to ask us to imagine some possible future for his characters, some unknown pleasure potentially available to them. In return he'll provide us with a story. But for now, this film will have to be just some form of negotiation, not a complete story in itself. Unknown Pleasures is the name of Joy Division's first LP. In one memorable scene, Xiau Wu asks Bin Bin for pirated DVDs of 'Xiau Wu' and 'Platform' (Zhang Ke's previous films, starring Xiau Wu himself), and Bin Bin says he doesn't have them, Xiau Wu then asks for 'Love will tear us apart'. Well, we all know where this might lead to. (the band's name, by the way, chimes well with the way the official Chinese propaganda is depicted). Unknown pleasures is also a reference to Zhoangzhi, the ancient Daoist philosopher who dreamt he was a butterfly, and then could not figure out whether he was Zhoangzhi dreaming himself as a butterfly, or a butterfly dreaming himself as Zhoangzhi. If only our characters could manage something like that! The closest they get to it is via a Dollar bill that comes inside a liquor bottle, American cinema (Pulp Fiction, appropriately) and a sweet pop song - 'Unknown Pleasures', once again, which Bin Bin will be forced to sing by the policeman at the end of the film. There are many 'unknown pleasures' on offer, but none of them is in fact 'unknown' or pleasurable: Falun Gong (perhaps even self immolation to achieve Nirvana), the 2008 Olympic games, etc. None provide a solution, just an escape. There is no 'opening' in Zhang Ke's world, not even the divide between art and real life will do, or help us forget this dreariness, this hopelessness. Good honest people become good honest criminals, just because there is no opening, no way to imagine otherwise, some unknown pleasure to make these humans complete, some way to make the fire on Xiao Ji's sleeves become real (tellingly, when he decides to rob a bank, he changes to a black shirt. The fire has burned out). In a way, Zhang Ke tells us, you cannot sing without your song turning into some kitschy propaganda, some form of coercion, but you also cannot not wish to sing. Not wanting to sing is a tragedy. And his heroes struggle hard and hopelessly in search of acquiring that wish.In a way, once again, Zhang Ke sings the song of the inability to sing (he appears briefly in the film, singing), of human beings who are unable to become ones, but are ones anyhow. He tells us his story bleakly, slowly, and in a very sensitive way. Following this movie he has turned towards a somewhat more benign and entertaining 'fantastic realism' style (in The World and Still Life, both are excellent). This is his second best after Xiau Wu.

Chris Knipp Jia Zhang-ke's movie is powerful and sad. It concerns what you might call two young semi-urban hicks with no future, both rail-thin, constantly smoking, one Bin Bin (Zhao Wei Wei), tall and sad-faced, the other, Xiao Ji (Wu Qiong), a smaller guy with a stylish haircut that covers a lot of his face. The former has a girlfriend, but he and she agree to separate while she goes through exams. Then she reproaches him for not asking how she did, but he protests that he's out of the loop so didn't know when she was done. His mother, a Falun Gong sympathizer, says he's useless and he offers to enter the army. But when he has a blood test, it shows he has hepatitis and he's ineligible for military service. The orderly warns him about contact with a girl because it's very contagious. It seems like his life is over.Neither guy has a job and they have no money. Xiao Ji, the smaller, more rakish one, who is all bravado and no follow-through, practically stalks a girl named Qiao Qiao (Zhao Tao) who's an entertainer for a drink company and who has a petty gangster for a boyfriend. This older punk eventually has Xiao roughed up at a disco for dancing with his girlfriend, and turns out to carry a gun. The girl at first rejects the boy, but then they go together and even sleep together.After he learns he has hepatitis Bin Bin borrows money from a shyster and gives his girlfriend an expensive present in a very sad scene where he won't touch her and she leaves him sitting by himself inertly in a typically desolate train station.Both the pals have dead-end lives. Sometimes the Chinese landscape, a vast rural-turning-into-urban wasteland under construction, reminds one of Italian neo-realism and the poverty of postwar European cities and one may be reminded of Pasolini's 1961 first film about young toughs with nothing to do, Accattone, but these Chinese boys are more passive and inarticulate and lack the Italians' false bravado.Bin Bin starts selling discs to make back the money he owes but that looks hopeless and Xiao Ji's motorbike is starting to break down. Finally they decide to rob a bank. Naturally such a demanding project undertaken by two individuals of such low energy and flair is a complete flop, and the tall boy is arrested while the punk-haired one flees on the bike, but he has to leave it by the side of a desolate highway and hitch a ride in a van.Bin Bin, in jail, is forced to sing a song and he sings a hopeful song about working class people he sang with his girlfriend in front of the TV at a happier moment. The film ends here, with the voice-over of the boy and girlfriend singing over the final credits.The ironically named "Unknown Pleasures" is an infinitely sad, unpredictable, seemingly aimless, but ultimately very meaningful and awesome movie that is at once primitive, real, and deeply touching. This is a great movie. It takes you somewhere you've never been before, somewhere painful and unforgettable. You can say this is a "depiction of the spiritual malaise afflicting Chinese youth as a result of global capitalism" as Howard Schumann has done, but that is to articulate the thing in a way that the participants in the story could not do. Rather, it is a couple of aimless lives awash in a changing modern China pretty near to the bottom of the social scale; but it is also a picture of lack of chutzpah, helplessness, failure to thrive. TV's, always on in some room, show events in and out of China, new construction, criminal prosecutions, a downed US plane, Beijing chosen for the Olympics, and there is talk of dollars and video games and even Pulp Fiction's opening scene, but all this is little more than a noisy distraction for the aimless boys. The young people in Hou Hsiao Hsien's 2001 Millennium Mambo are rather different. They are all good looking hustlers, and they may go nowhere either but they're going to make some kind of splash and spend some money along the way. But while Hou's film seems on the outside looking in cluelessly, Jia enters to the core of his characters' grim shallow lives and etches them on our hearts forever. Jia creeps up on you slowly and then never lets you go. This is the most powerful film I've seen in a long while. Its contents seem trashy and junky, but turn out to be astonishingly vivid and rich visually and aurally, a mix, also, that you've never quite seen before and aren't going to forget even if you want to.Perhaps Jia is the most talented of the "edgy underground film movement" that is the "Sixth Generation" of Chinese filmmakers, but not all his work is the same. "Platform "has more sweep and is more personal; "The World" is more up-to-date and relevant; but this is the one that grabbed me and showed me Jia's raw greatness as a filmmaker. It has more drive and more emotional power than anything else he has done so far.

ulyssestone Since I have seen the other two films by Jia, I was more or less prepared for his way of narrative. But there were still many things attracted me. The industrializing city itself, with all the dirty scars on its face, established a sorrowful mood for the whole film. The most promising character (Bin Bin's girlfriend) was always sitting like a puppet, dreaming of a world that she did not exactly know. The young people's mind were fulfilled with information from pop music and American movies, the Chinese tradition was totally cut off, I could even hardly find any morality in them, a nowhere generation. When one of the most interesting scene (Bin Bin's girlfriend riding bike in that hall, waiting for him for a while and finally departed from him slowly) ended, it seems that it's all over, but then came an absurd bank robbing that made the helplessness of their lives more obvious, when Xiao Ji tried to restart his motorcycle repeatedly, it seem his only hope, but he failed, and jumped into a bus which took him away alone the new highway that leads to the unknown big city. I hope next film of Jia would focus on big cities, because I think the problems showed in Jia's past works are not just caused by poorness. It is lucky that at this transforming time of China we have an artist like Jia to speak in his own voice when everyone else seems happy with those "great" changes.

aslz I don't recall where I read a favorable review of this art film, but if I did I would make sure I don't rent anything else they recommend. This film went nowhere. Two Chinese boys with no motivation. They don't take any risks really, and neither do the filmmakers. I was not left with any particular emotion or thought. Photographically it was OK. Perhaps the filmmaker was going for Bergman type effect of portraying emotional emptiness. And maybe its a cultural translation I'm not getting.Saw parts of China not seen before - the more urban dirty landscape.. So that was a plus. I liked the girl. Her character had the most um, character.