Still Life (Sanxia haoren)

 

Director Jia Zhang-ke in Venice

 

 

 

STILL LIFE (Sanxia haoren)         A                                                                                      China  Hong Kong  (111 mi)  2006  d: Jia Zhang-ke

A very slow, languorous film shot entirely in high definition digital video and blown up to 35mm by Yu Lik-wai, who also shot Jia’s earlier features, that hypnotically captures the rich colors of the region along with a solemn, funereal feel throughout, sort of the exact opposite of Kiarostami’s AND LIFE GOES ON (1992), another fictionalized film that was shot in the middle of devastating destruction, the aftereffects of a deadly Iranian earthquake.  But while Kiarostami’s film searched through the ruins of destruction for any semblance of life, finding rebuilding, restoration projects everywhere that upliftingly reaffirmed one’s faith in man, Jia’s film seems to be set in the tombs, revealing instead a people in the process of demolishing an entire civilization, evicting all the residents from Fengjie, an ancient 2000 year old city, relocating them (1.5 million and still counting, while dismantling thirteen major cities) without really keeping track of where they’re heading, creating an unprecedented government-imposed upheaval on a massive scale, something that might be expected during wartime, but certainly not due to a modernization project of building the world’s largest hydroelectric dam that will eventually leave the entire city underwater.  The film resembles, to some degree, the deeply felt, existential alienation in the face of technological modernization in Antonioni’s RED DESERT (1964), as both are profound sensory experiences where mood takes precedence over any narrative, yet like Haskell Wexler’s Medium Cool (1969), also made in the 60’s, Jia scripts his fictional film in the middle of this already partially submerged, real-life demolition project introducing two characters searching for missing spouses who they haven’t seen in years, a recording of memory as it is happening, with humorous references to John Woo’s A BETTER TOMORROW (1986).  In a film like this, locations are everything, as nearly every frame of the film captures the stunning mountainous beauty of the vicinity, called the Three Gorges region due to gorges spectacularly coming together along the Yangtze River, a scene depicted on the back of a ten yuan note in Chinese currency, but every frame is also a time capsule for a lost civilization, which is hauntingly still thriving before extinction as we see the people scrambling about the city streets in a bustle of activity, but there are horizontal lines affixed to tall buildings ominously showing where the water line will be in the next phase of construction, where everything under that line will be submerged in water.  In eerie fashion, everything below that line is being destroyed, while everything above that line has a tenuous hold on life, a metaphor for upward mobility in modern China, as everyone is scrambling to reach higher ground, shown in a flurry of feverish activity which may as well separate the rich from the poor, accentuating the vulnerability of impoverished residents of the region, as the poor continue to inhabit the low lying regions.   

Winner of the Golden Lion (1st place) at the Venice Film Festival in 2006, arriving in the U.S. two years later, what makes this film so unusual is the ponderous nature of the way it is filmed, full of curiosity and questions in the slow observational pans that combine intimate portraits of ordinary citizens set against this continual destruction of what used to be a vital city, literally tearing it apart brick by brick while looming off in the distance is the omnipresent stillness of this extraordinary natural landscape which is nothing short of breathtaking.   Without ever offering details or statistics, which can easily be provided by journalists, there is instead an enveloping sadness permeating through every image, as sweaty, shirtless men are paid meager wages to use sledgehammers to reduce a city to dust and rubble reminiscent of Rossellini’s post-war GERMANY YEAR ZERO (1948), an industrial wasteland of epic proportions causing the region to be perpetually enveloped in low-lying clouds, but also men whose idle time is spent smoking cigarettes or eating noodles, chatting feverishly while playing mahjong as the camera slowly shifts its attention and gazes at any number of barges floating down the river carrying commercial goods, all shown with a poetic detachment that objectively offers no point of view, yet it’s clear the collective is valued over the individual.  The implementation of market reforms from the late 70’s and early 80’s led to an ascension of capitalist entrepreneurs with political ties and nearly unlimited power to seize land for private and state projects, leading to a massive influx of migrant laborers to help fuel China’s industrial and construction boom, as reflected in Jia’s earlier film THE WORLD (2004).  Listed at #2 from Cahiers du Cinéma’s Top 10 list of the Best Pictures of 2007, using chapter headings of cigarettes, liquor, tea, and toffee, items associated with New Year’s celebrations, all perishable goods that symbolize quickly disappearing happiness to ordinary people, where there is a very calm and meditative aspect to this film, like the passing of time happening right before our eyes, representing the enormous space that exists between the two protagonists who visit Three Gorges, a space that remains throughout the film, seemingly unbridgeable, like the people lost in the landscape.  The characters inhabiting the film are all morally ambiguous, with some fueled with a chaotic energy, where they may be both victimized and also perpetrators of violence, as extorting newcomers to the region and taking advantage of their unfamiliarity appears to be a common practice.  Using diegetic sound as part of the score, the incessant pounding of hammers demolishing brick buildings is a continual backdrop, mixed with a nostalgic feel from interjected pop songs that also fade away over time, where past and present intertwine throughout the film, suggesting we are living in transient times, where what we see today will be gone tomorrow.  Jia’s film showcases his ability to provoke a re-examination of the relationship between real and fictional narratives, and also between personal memories and the collective historical record.

The magnificent opening handheld shot is a long circular pan of densely packed bodies on a ferry boat that is both meandering and meditative, slowly observing the passengers traveling down a river in a collective group collage, fusing landscape and portrait imagery, where the frenetic energy of their conversations is a stark contrast to the serenity of the water, as the camera lingers on long shots of the river and the stillness of the passing landscapes.  At the very front of the boat, isolated from the rest, sits Sanming (Han Sanming, the director’s actual coal mining cousin), a working class coal miner who comes to the city searching for his missing wife of 16 years, also a daughter that he’s never seen.  When he realizes the street where she used to live is submerged underwater, he enlists the aid of fellow citizens, eventually joining one of the demolition crews himself, just one of many shirtless low paid workers swinging sledge-hammers.  His lower class pattern of living routinely includes bartering and sharing, offering bottles of liquor to express gratitude to officials or handing out individual cigarettes to friends, where living in such claustrophobic close quarters means the concept of privacy is non-existent.  His personal business becomes the business of everyone around him, as he has to be accepted by the group before he can ever hope of succeeding in his mission.  Whether he succeeds or not remains ambiguous to the viewers, but the unusual way his story comes together is handled beautifully, with a calm understatement and a potent underlying emotional reserve, pushing specific aspects of cinematic realism, the long take, deep focus, non-professional actors, the use of real time, while offering a subjective perspective on the conditions of life.  Zhao Tao, who would become the director’s wife (married in 2012), doesn’t appear until an hour into the film, a recurring character in all Jia features since PLATFORM (2000), playing Shen Hong, a nurse, an educated, independent-minded, middle-aged women who hasn’t seen her husband in two years, meeting one of his old friends, archaeologist Dongming (Wang Hongwei, one of Jia’s classmates from the Beijing Film Academy, and the star of Jia’s XIAO WU in 1997) to ask him for help in finding her husband, whose slowly developing offscreen profile is an unusual way to introduce a character, as we discover Guo Bin (Li Zhubin) is a corrupt, hot-shot official who is actively involved in the forced eviction of stubborn residents, while his boss Ding Ya-ling is a wealthy female investor, where both have become rich through their participation of the demolition of the Three Gorges cities. Maintaining a great deal of power in the region, his hesitancy to meet with Shen Hong is understandable, as he finally comes out of hiding and meets with her against the backdrop of the Three Gorges Dam, the only time it’s shown in the film, suggesting the dam itself is the cause of the couple’s strife, a subtle hint that it is not yet fully operational, yet it is a testimony to China’s remarkable economic growth.  She discovers he’s likely having an affair with Ding, but Shen Hong’s motive for being there remains a mystery through most of the film.  Despite his elevated economic status, her manner of classic stoicism keeps him continually off guard, never knowing what to expect, as she retains the upper hand, a fact that may well explain why he left in the first place. 

Continuing in Jia’s contemplative quest to intermix the personal with the historical, he integrates a mixture of traditional Chinese painting and poetry, Cultural Revolution imagery, Canto-pop songs, as well as 1980’s and 90’s television, revealing an intersection of the real and the imagined, also the past, present, and future, which represents an evolving realist style.  His first three films took place in Shanxi province where the director was born (his parents were sent there during the Cultural Revolution, with dislocation becoming a key ingredient to his films), made without official government approval and were banned in China, described as underground projects, yet all show the shattering impact of China’s attempts to modernize in rural interior regions.  Both characters in this film are traveling from Shanxi, shown in parallel stories as each is attempting to repair broken relationships, where the future seen through differing class perspectives offers diverging possibilities, as Jia examines the disparities of class, with both protagonists representing opposite ends of the economic ladder, as Shen Hong’s husband heads the construction project, while Sanming toils in the bottom rung of the day-to-day demolition.  Accordingly, it’s easier for Shen Hong to adapt to the rapid transformations, while Sanming is more culturally isolated and completely uncomfortable with modernity, finding it easier to cling to the past than to adjust.  Through the sheer mastery of what the filmmaker is able to compress into each shot, we are constantly reminded of what’s at stake building such a mammoth project in the middle of such overwhelming, magisterial beauty, and what utter gall it takes to intentionally displace so many people from their homes and their history as a matter of public policy, literally reducing 2000 years of history to rubble before it disappears from sight altogether, taking a tremendous human gamble by betting it all on the future.  Over the past three decades, China has been transforming itself from an agricultural economy to an increasingly industrialized and urbanized country.  The film is not so much about the existential malaise of THE WORLD as it is a way to frame progress in real time, where it’s an open question whether this can stand the test of time.  Initially proposed almost 90 years ago by Sun Yat-sen in 1919, part of his “Plan to Develop Industry,” which aimed to address flooding and harness the Yangtze River’s power for national development, supported by Chinese leaders like Chiang Kai-shek and Mao Zedong, actual construction began in 1994 and was finally completed in 2012.  Shot in 2006 with work still in progress, Jia was able to film midway through the largest public works project in human history.  The consequences are enormous, both pro and con, and the idea that China, normally not known for their progressive views, would allow this most brilliantly independent of Chinese filmmakers into the region knowing the unpredictability of his artistic and political views, at least through their point of view, and yet it happened, approved by the Chinese Film Bureau and co-produced by the state-operated Shanghai Film Studio, where the result is this quietly probing, utterly realistic, yet near surreal, non-narrative essay that explores the region through visual imagery and broken marriages, where the challenge to viewers is that they will also have to decide what is worth salvaging in their own lives and what they may need to let go. 

One of the more modern images of the film is seen at an evening penthouse party on an outdoor balcony directly overlooking a giant suspension bridge that spans the river.  As it caters to the rich and powerful, Zhao Tao believes her husband could be there.  Instead another powerbroker arrives on the scene and expresses dismay that the bridge is not lit up for his VIP’s.  A quick cell phone call obtains instant results and the bridge lights up like a birthday cake, emblematic of state-of-the-art technology.  Another somewhat surreal image is an empty, gigantic structure which may have once housed building occupants, but it has long been abandoned and is left standing alone towering over a barren field where kids play.  At one point, this monstrosity of a structure simply fires up burners at the bottom and takes off, like some kind of mysterious UFO and vanishes from view, defying all known concepts of space and time.  Given the quasi-documentary aesthetic of the filmmaker, this is nothing less than shocking, while there is also an image that is almost identical to Kiarostami’s AND LIFE GOES ON, where a beautiful green landscape can be seen through a broken-down window of the earthquake rubble that reveals sheep grazing peacefully in the fields, where signs of hope can literally be seen through the ruins, with haunting Arabic music providing a profound sense of something sacred.  Jia, on the other hand, shows a married couple in a crumbling structure of a half-demolished building with a missing wall several stories high, embracing near a similar broken-down window in the ruins that overlooks the skyline of this city, when one of the tallest buildings seen off in the distance suddenly collapses.  As this is the place where Han and his ex-wife (Ma Lizhen) finally meet, he is unable to answer her queries about why he waited so long to look for her, becoming a metaphor for Han’s powerlessness in the face of China’s transformation.  Unlike Jia’s earlier films, which are about fringe characters who are aimless and adrift, defined by their nonchalance, these are stronger and more mature protagonists who are well integrated into Chinese society.  What’s unique about this filmmaker is that he makes films about ordinary people cast adrift by China’s social and economic changes, people whose lives are disrupted and have no choice but to adjust, change, and literally move on with their lives.  Over the course of five fiction films and some documentaries, Jia has risen from the initial position of chronicler of a Chinese youth without a future to a historian with a look not only at the present, but to the future.  Shot in parallel with Jia’s documentary DONG (2006), both touching on common elements and themes, blurring the boundary between fact and fiction, yet in scope and depth they venture into unchartered territory, where this is more impressionistic and elusively mysterious than any feature Jia has made to date.  One must mention the otherworldly musical score by Lim Giong on his second Jia film, formerly working with Hou Hsiao-hsien, including some irresistible sequences scored to romantic pop music songs.  The supreme image is left for the finale, however, where off in the distance a man inexplicably performs a high-wire act walking between two tall buildings that are likely targeted for demolition, another improbable balance between high and low or the sacred and the profane.

Caught By the Tides (Feng liu yi dai)

 

Director Jia Zhang-ke

Jia with Zhao Tao

CAUGHT BY THE TIDES (Feng liu yi dai)             A-                                                              China  (111 mi)  2024  d: Jia Zhang-ke

Not even a wildfire can burn all the weeds, they will grow back in the spring breeze.                   —Underground, by Brain Failure, 野火 YouTube (46 seconds)

From the director of PLATFORM (2000), UNKNOWN PLEASURES (2002), THE WORLD (2004), Still Life (Sanxia haoren) (2006), 2020 Top Ten List #4 I Wish I Knew (Hai shang chuan qi) (2010), 2013 Top Ten List #3 A Touch of Sin (Tian zhu ding), 2015 Top Ten List #2 Mountains May Depart (Shan he gu ren), Ash Is Purest White (Jiang hu er nv) (2018), and 2020 Top Ten List #8 Swimming Out Till the Sea Turns Blue (Yi zhi you dao hai shui bian lan), Jia Zhang-ke, who makes an acting appearance in Guan Hu’s Black Dog (Gou zhen) (2024), is one of the better chroniclers of our times, where his films play out like existential essays that capture what is so essential about living through the different waves of change through China today.  His sixth film to premiere at the Cannes Film Festival, where it was completely overlooked and often misunderstood by critics, it is essentially a Covid pandemic film, where filming in China was particularly difficult, leaving the director with some time on his hands, so Jia, with the help of 3 editors, brilliantly weaves together footage he had filmed over the past two or three decades, some of which was originally filmed without any specific purpose, where he ended up experimenting with diverse filming techniques rather than capturing specific scenes, creating an abstract, freeform collage that can be formally challenging to watch, more of a musical, architectural, and social kaleidoscope than a recognizable narrative, quickly realizing this could be the basis for a new film.  Like the cinematic essays from Chris Marker or Adam Curtis, considered provocative cinema due to its intellectual inaccessibility for most viewers, Jia uses impressionistic images and sensations of the past to maneuver through space and time, across a spectrum of people and places to meditate on intersecting ideas of history and memory, tradition and modernity, and also reality and art, which is something of a reflection on Susan Sontag’s nature of photography (On Photography) which suggests that images shape perception, mediate experience, while influencing our relationship with the world, where this turns out to be his most innovative depiction of 21st century China to date.  At the heart of the film is an undying love that spans decades, through different cities and changing careers, showcasing a collection of meetings and departures through the years, where they always manage to find a way back to each other.  Approximately 10 scenes from the film have appeared in Jia’s previous films, including footage and outtakes from UNKNOWN PLEASURES (2002), Still Life (Sanxia haoren) (2006) and Ash Is Purest White (Jiang hu er nv) (2018), which was itself a twenty-year journey through the fast-changing landscape, yet both of those later films share the same time frames and settings, as well as familiar characters and thematic content, so the use of new footage allows the filmmaker to radically alter the context. 

The common denominator in all these films is the presence of actress Zhao Tao, the director’s wife, a graduate of the Department of Chinese Folk Dance at the Beijing Dance Academy, where someone needs to just come out and acknowledge that she is one of the great screen actresses of our time, possessing an indomitable spirit that burns with subtle brilliance, wit, and the ferociousness of an independent woman whose steps are haunted by the barely recognizable yet everchanging landscape around her, where her presence here is completely captivating.  Reminiscent of the deeply personal working relationship between John Cassavetes and his wife, actress Gena Rowlands, both directors made a comparable number of films together starring their wives, maybe 7 or 8 films, where that work is easily the best in their respective careers, where the intimacy factor captured onscreen is simply astonishing.  A portrait of a women’s growth, awakening, and evolution, part of the “change generation,” where the Covid pandemic woke China’s young people up to the reality that their society is oriented to the values and priorities of the elderly, whose patriarchal, Confucian-influenced truths are very different from their own, yet what stands out in this film is that Zhao Tao never utters a single word in the entire film, though she does sing a song, representing a sector of society that has experienced very rapid changes over several decades, experiencing joy, anger, sorrow, regret, and happiness, and while her performance is completely minimalistic, it’s also amazingly powerful.  Spanning more than 20 years of her career, the Cannes screening reduced her to tears as the credits rolled, as her gestures, movements, and facial expressions are simply unforgettable, even through an N95 mask at the end of the film that covers most of her face, arguably the only actress seen so far who has been able to transcend those limitations, offering what is perhaps the performance of her lifetime, something completely missed by the Cannes jury.  Unexpected events crop up one after another, yet she carries the picture as she wanders through different time periods in this sprawling yet ruminative journey haunted by history, kind of a reflection on the director's work, yet realized through her eyes.  What we quickly understand is that as the landscape changes so quickly, feelings change as well, creating a roller-coaster social environment which can leave us with an overwhelming sense of melancholy at having survived such a momentous ordeal, which is exactly what Jia’s films are about, where time, distance, and memories are intertwined, always wondering how we can find the truth from the fictionality of the film, offering a deep sense of loneliness, nostalgia, and disillusionment, leaving a profound imprint in the viewer’s imaginations.

Opening on the side of the road, an unnamed man stands before a burning fire as a punk song from the early 2000’s rages, Underground (though the literal translation is Wildfire), by Brain Failure, 野火 YouTube (46 seconds).  Literally immersed in the Jia ethos that connects all his films together, this quickly segues to local women huddled around a stove singing love songs and workers’ traditional songs on International Women’s Day, while a sequence in the deteriorated Workers’ Cultural Palace signals the abandonment of Mao Zedong-era Communist traditions, though it remains a welcoming place for pensioners who no longer know what to do with their time, expressing a longing for nostalgia, bringing back collective memories in a film that finds a unique balance between documentary and fiction.  Qiao Qiao (Zhao Tao) and Guo Bin (Li Zhubin) are the same names of the couple in Ash Is Purest White (Jiang hu er nv), though they are originally connected back to UNKNOWN PLEASURES (2002) where the characters first appeared, a jarring film shot in just 19 days that captures a new generation of Chinese youth, kids who had grown up completely in the post-Cultural Revolution era when China was rapidly modernizing, and, to some extent, Westernizing, while Still Life (Sanxia haoren) (2006) continues the story of those left behind by a rapidly transforming Chinese society.  Jia and his co-writer Wan Jiahuan, who also collaborated on 2020 Top Ten List #8 Swimming Out Till the Sea Turns Blue (Yi zhi you dao hai shui bian lan), have stitched together a new story set in four different time periods, 2001, 2006, 2017, and then 2022, which is only possible because Zhao Tao has starred in almost all his films, while four also feature Li Zhubin.  Living together in the northern Chinese city of Datong in 2001, known as a coal mining city, she is a singer, dancer, model, and club girl working for her manager and romantic partner Bin, often in front of the miners who still have their faces caked in coal dust, singing operas, pop songs, and performing choreographed dances.  Like the abstract opening dance sequence of David Lynch’s MULHOLLAND DRIVE (2001), Mulholland Drive (2001) - Opening dance number YouTube (1:30), Jia similarly composes an ode to physicality in which songs of different styles overlap, with overcrowded nightclubs bathed in music from the West, where the collection of bodies establishes a dialogue with life through the playful and liberating experience of the dance, viewed as an exercise of freedom.  Capturing the exuberance of the singing crowds, there’s a kind of underplayed aspect to the overall performances, which rarely feel spontaneous, yet Qiao Qiao is completely captivating, as if lost in her own world, feeding off the frenetic energy of the music, providing some semblance of entertainment in a working class town bereft of any kind of meaningful cultural identity, 風流一代| 個瞬間似乎既是往昔重現也是過去不再可及的黯然 ... YouTube (6:07). 

Offering a sense of vibrancy in otherwise dreary and lonely landscapes, these sequences arouse the hopes and dreams of youth facing the harsh realities of capitalism during the approaching millennium, while also providing insight into small town culture and what this means to them.  When a bunch of rebellious punks surround Qiao Qiao on the street with their motorbikes, she easily dissipates their threatening harassment by more than holding her own, walking away unscathed while they’re left scratching their heads in complete surprise.  But their fragile relationship turns cold, growing miserable and oppressive, alternating between fleeting encounters and painful separations, best exemplified by an unforgettable scene inside a bus, playing out in its entirety from UNKNOWN PLEASURES, where Bin repeatedly pushes her back, like a dozen times, blocking her attempt to escape out the door, yet she persists until he finally allows her to pass.  Growing increasingly frustrated, Bin sets off to earn a living in a distant province, sending her a text that he’ll send for her once he’s settled, but she never hears from him, as he ignores all her messages.  One thing that stands out in Jia’s early films is his use of diegetic sound designs that allow the noise of everyday life to effectively act as a score, while he also gets compelling performances from non-professional actors, which add an element of hyper-realistic exhilaration.  Jia, one of the most uncompromising and influential filmmakers of his generation, founder of the Pingyao International Film Festival in 2017 to promote diversity of Chinese cinema (The Other Side of Hope: Jia Zhangke and the Pingyao ...), while supporting younger filmmakers through his production company Xstream Pictures, is able to remix old footage into this new film to create an epic adventure story by following a lone woman making her way through the ever-shifting tides of time.  The music is from Hou Hsiao-hsien’s Taiwanese musical composer Lim Giong, who already worked with Jia in THE WORLD (2004), Still Life (Sanxia haoren) (2006) and 2013 Top Ten List #3 A Touch of Sin (Tian zhu ding), providing a window into the lives of the characters, where this is easily Jia’s most musical film yet, becoming the emotional heart and soul of the picture, exuding an air of post-millennial optimism.  His electronic music brings a poetic and melancholic tone to the film’s journey, yet there are also 19 different songs from various Chinese rock groups from different periods, none better or more poetically evocative than Omnipotent Youth Society - Kill the One from Shijiazhuang YouTube (5:44), used in a gorgeous musical interlude while panning the streets of Datong that depicts the dull and despairing life of workers in a state-owned factory in an inland industrial city, which represents an aftermath to the hope that took place after the Great Economic Reforms of the 80’s and 90’s (Reform and opening up), where the working class shouldered much of the responsibility of advancing social development, yet rampant unemployment from an economic downturn left those dreams a distant memory. 

Confused by his sudden disappearance, Qiao Qiao sets off in search for Bin, a particularly elusive figure, suddenly finding herself traveling down the Yangtze River, wandering through Fengjie’s eerily half-demolished communities that are about to be submerged by water and disappear altogether, along with a dozen other cities, where more than a million residents are being displaced by the massive construction project of the Three Gorges Dam, taking more than a decade to build, which was the subject of Jia’s astonishing earlier film Still Life (Sanxia haoren) (2006).  The film lingers here the longest, feeling more like a throwback to an Antonioni film, whose camera endlessly followed Jeanne Moreau and Monica Vitti through an alienating modernity, as Qiao Qiao similarly wanders endlessly, like a phantom, through the demolished buildings that resemble the ruins of a war zone, where the impact is simply staggering.  Jia alters the rhythm and perspective from his earlier films through Qiao Qiao’s silence, interjecting new footage, where she is an observer of pivotal moments in history, feeling almost like a time traveler, where the breadth of the experience is hard to fathom, with music holding a key to the past, unlocking memories, where the lyrics can reflect the inner life of the characters, becoming a profoundly affecting montage that serves as a time capsule, yet that breakneck speed of rapid development, technological advancement, and economic progress comes with a price, as the country’s traditional identity also seems doomed to disappear.  We learn that Bin has been involved in shady real estate business dealings, where gangs of kids are sent to fight other gangs, while he’s also dating a corrupt politician who quickly exits the vicinity with stolen cash before authorities can make an arrest, so as quickly as she finds him, she leaves him, as he’s no longer the man she’s been searching for, with a mysterious fortune teller offering his assessment, CAUGHT BY THE TIDES Clip | TIFF 2024 YouTube (1:25).  Returning back to the slower rhythm of life in Datong, the film jumps ahead to the Covid pandemic years in China, with the appearance of masks and disinfectants, along with empty streets and sterile interiors, the only section of the film shot with original footage by Éric Gautier, where there is a stunning dance sequence of masked partners who try to ignore the presence of a man who is literally spraying the floor with disinfectant as they dance around him.  A much older Qiao Qiao is seen working as a cashier in a supermarket, where she has two mysterious interactions, one coming face-to-face with Bin as their paths cross again purely by chance when he arrives at her cash register, recognizing him even with his mask on, but he lowers it without uttering a word, apparently in diminished health, as he walks with an assisting device. 

The other is with a robot friend that greets entrants to the supermarket, programmed with artificial intelligence to read faces while spouting quotes from Western authors in an attempt to make people feel better about themselves, where she plays a game of hide and seek, in and out of its sight of vision, each time challenging its reaction.  Robots are everywhere in China, seen in hotels, public offices, shopping malls, where they clean floors, deliver meals, or just provide helpful information, where it’s hard to assess how much lives are already changing by the effects of artificial intelligence or the diffusion of TikTok recordings in the changing landscape, a time when technological developments and the rise of influencer culture usher in what feels like an unwanted modernization, as it’s become a short attention span world that doesn’t give a damn about history anymore unless they happened to view it on TikTok.  Outside the supermarket a band is performing, with the couple reuniting again as a song plays Exactly The Same by Wu Tiao Ren, 五条人- 一模一样（《风流一代》 YouTube (2:10), which is about a pair of lovers meeting and parting over four different seasons, which perfectly resonates with what the characters are experiencing, as their relationship mirrors the isolation and loneliness of the pandemic.  Following his characters from Northern to Southern China and back again, the unexpected finale is uniquely powerful and poetic, with a song playing over the end credits that was released in the early stages of the pandemic, Go On, by Cui Jian, Ji Xu YouTube (6:12), a popular rock musician who resonated with the student movement in 1989 (1989 Tiananmen Square protests and massacre), where the song is given an anthem-like quality that suggests a sense of unfulfilled aspiration.  Jia used cameras that gradually emerged over time to reflect the differing time periods, where the digital formats ranged from mini DV to surveillance cameras and VHS footage all mixed together on 16mm and 35mm, as grainy, low-grade digital video gives way to a high-definition crispness, becoming a meditation on the flow of time, a collective expression of hope and grief in a changing China, as the world has completely changed since the making of UNKNOWN PLEASURES in 2002, something Jia recognizes all too well in our increasingly bewildering present.  He has been exploring economic and social changes in contemporary China for decades, focusing on how these changes affect ordinary people, especially how large-scale policies and changes affect individual lives, notably marginalized or voiceless characters, as this artist, more than anyone else, illuminates the inner lives of these citizens.  Jia wants to look back to a time when the future was completely unknown to us, and then pair them with images of today, which back then was considered the future, offering a different perspective that uniquely navigates contemporary China while documenting the complexity of the individual experiences who bear witness to the turbulent emotional and social changes.