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girlfriend, the only character with real ambitions and goals, is trying to get to
Beijing in order to attend university. Meanwhile, when Beijing is selected as the host city for the 2008 Olympics, a crowd of people gathered around a television burst into cheers. Towards the end of the film, a newscast states that the Datong-Beijing Highway is soon to be completed, hinting that escape and progress are not far behind. For Jia, however, the depiction of the provincial town only highlights "the gap between rich and poor" and the gap between the image of cities like
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809:, the Monkey King. Bin Bin explicitly draws the point that unlike himself, the Monkey King has no parents and no burdens. For Jia, the story of the Monkey King "reflects the fatalism of " in that unlike the Monkey King, these characters "struggle desperately. They pull themselves out of difficult situations, but they always fall back into new problems because no one can escape the rules of the game. True freedom doesn’t exist in this world."
381:. While dancing, Xiao Ji is led away by Qiao San's men, who humiliate and beat him. Enraged, Xiao Ji tries to avenge himself but is stopped by Bin Bin, who tells him that Qiao San keeps a gun on his person. Undeterred, Xiao Ji continues to pursue Qiao Qiao, who is eventually abandoned by her boyfriend. When the two young people end up in a hotel room, Qiao Qiao tries to explain to Xiao Ji the philosophy of
757:. With no brothers or sisters, Jia wanted to show these individuals as isolate, alone, "confronted with an existential crisis of individuality." In a separate interview, Jia noted that unlike his own generation, this generation is often detached from reality, filtering their experiences through the internet, television, and other media. In one oft-referenced scene, Xiao Ji discusses the film
637:. A small-time crook, Xiao Wu appears in the very beginning of the film attempting to hustle a few RMB out of the two male protagonists. Shortly thereafter he is arrested and taken away for unknown reasons. Xiao Wu shows up again later in the film to provide a loan to Bin Bin. The character of Xiao Wu, as played by Wang Hongwei, is presumably the same character from Jia Zhangke's debut film,
415:, where the latter is immediately arrested. Fleeing, Xiao Ji drives his motorbike down the highway until it breaks down and he hitches a ride to locations unknown. Bin Bin is left at the police station, where an officer informs him that robbery is a capital crime. The film ends as the police officer forces Bin Bin to stand and sing. Bin Bin chooses to sing
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creates a moment where the "environment is complementing internal feelings." At the same time, use of digital video restricted Jia. He noted in an interview shortly after the release of the film that he and cinematographer Yu Lik-wai were forced to cut back on exterior scenes due to the drawbacks of filming on digital video in sunlight.
554:. A young man most often seen wearing an oversized dress shirt, Bin Bin is frustrated by his life in Datong. His relationship with his girlfriend is distant but tender, while his relationship with his mother is strained. Despite his seeming timidity, it is Bin Bin who eventually carries out the poorly thought through plan to rob a bank.
604:) plays the female lead of Qiao Qiao. Slightly older than both Bin Bin and Xiao Ji (the film states that she is born in 1980 making her 21 years old), Qiao Qiao serves as the singing and dancing enticement for the Mongolian King Liquor company. It is Qiao Qiao that explains the philosophy of "ren xiao yao," a form of
608:. Jia wrote the character of Qiao Qiao to reflect the modern Chinese woman, who struggle between conservative tradition and modernity. According to Jia, Qiao Qiao is unable to continue her relationship with Qiao San because she cannot reconcile her hidden conservatism with the idea of becoming a mistress.
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seems to be in a state of disrepair and ruin. Jia noted in an interview that in one sense, Datong was "truly a city in ruins, and the people that inhabit it very much live in a spiritual world that reflects their environment." In contrast to Datong, the film paints
Beijing as a dream world. Bin Bin's
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According to Jia, the final scene of Xiao Ji riding down the highway as a thunderstorm approaches would not have been possible had traditional film cameras been used. But because of the flexibility of digital video, Jia
Zhangke was able to capture the scene with the storm and in the director's words,
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also gave the film only a middling review, with a similar complaint that the film "is far more diluted thematically, touching on a number of interesting points but failing to bring them together in any cohesive way." Two internet review aggregates reflect the film's somewhat average impression among
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For much of the early parts of the film, the three characters seem to follow an aimless lifestyle. Unemployed, Bin Bin meets with his girlfriend to watch television on most days, while Xiao Ji seems to do nothing at all aside from flirt with Qiao Qiao. When an explosion rocks part of the city's
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in only nineteen days, as a result of time and budgetary constraints. In his production notes, Jia claims that the use of digital video produced a slight color discrepancy that lent itself to the tone he wanted the film to take. Additionally, the use of digital cameras meant a more streamlined
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textile mill, the characters are briefly pushed into action. Qiao Qiao, desperate to get her injured father into the hospital, has Xiao Ji rush to the bank in order to withdraw ¥2000 for the entry fee. As thanks, she takes Xiao Ji and Bin Bin first to lunch, where Xiao Ji references watching
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That year, reality was more theatrical than anything we could see at the movies. It even leaned toward surrealism. The entire population got worked up. This strange excitement gave me a worrisome feeling. The anger of society's inner layers was beginning to come out and show
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In another reference, "Ren Xiao Yao" is the name of a pop song from 2001, and is the song that Bin Bin sings in the film's ironic final scene in a jail cell. Freedom, it seems, is harder than it looks. In a running theme, Bin Bin and Xiao Ji consistently refer to the
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389:, "philosophized that we should do what feels good." Soon afterward, it is learned that Qiao San has died in a car accident. The film implies that Qiao Qiao nevertheless leaves Xiao Ji and is last seen wearing a blue wig as a prostitute in a run-down club.
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Each of the three main characters therefore try to achieve a state of "Ren Xiao Yao" - freedom from all constraints. This phrase and concept arises multiple times in the film. As described by Qiao Qiao, it is part of the philosophy of the Taoist
355:, a young singer and dancer working for the Mongolian King Liquor company as a spokesmodel. Xiao Ji immediately becomes enamored with Qiao Qiao, which gets him in trouble with Qiao Qiao's boyfriend, the loan shark and local thug,
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closest thing to a true villain, Qiao San is essentially a local thug in Datong. Though he is rarely physically violent himself, he carries a gun with him and has several of his cronies restrain and humiliate Xiao Ji at a dance
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writes how "the attitudes of these kids are almost completely derived by the electronic mass media that they consume and that consumes them." As J. Hoberman notes in his review, for Xiao Ji, Bin Bin, and Qiao Qiao,
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Jia's production notes also reveal the importance of the film's time period: 2001. At numerous instances in the film, newscasts and other media link the characters to external current events. These include the
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youth doesn't even belong to them -- they've sampled it from
Western culture, just like the clangorous funk of the dance club music. They want to soak up someone else's dream." Similarly, Kevin Lee of
471:. As Jia stated at a news conference: "At first it was the bleak and lonely buildings that attracted me. When I saw the streets filled with lonely, directionless people, I became interested in them."
306:, and it is sometimes considered the final film of an informal trilogy on a modern China in transition. The film also marked Jia's last production outside of the Chinese studio system. With 2004's
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to Qiao Qiao, after which Jia quickly cuts to the two dancing in a club with music sampled out of that film. Critics and scholars also picked up on this existentialist strain in the characters of
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seemed lost in its own narrative. One critic argues that the film's story "goes nowhere" and as a result the audience never "understand the motivation of the characters." The industry magazine
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The film was not universally praised, however, and many critics found significant flaws in the film's style and pacing. One common complaint was that like the film's aimless protagonists,
681:. Yuan Yuan's character was consciously set apart from the main three characters, in that she is the only character with set goals for life and the possibility to escape provincial life.
730:, young people lack discipline. They don't have any goals for the future. They refuse all constraints. They run their own lives and act independently. But their spirit is not as free."
800:, young people lack discipline. They don't have any goals for the future. They refuse all constraints. They run their own lives and act independently. But their spirit is not as free.
408:). Bin Bin uses the money to purchase a cell phone for his girlfriend, but when she tries to get close to him, he refuses, and notes only that there is no future for him anymore.
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665:) DVDs. According to the director, this self-reference was possible in part because Xiao Wu (and Wang Hongwei) had become a cultural icon in China's independent film scene.
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is about more than alienation." Stylistically, however, Mitchell felt that Jia's long-takes and slow pans started to feel repetitive, a sort of "reductive neo-realism."
564:. The long-haired Xiao Ji is Bin Bin's best friend. Considerably more reckless than Bin Bin, Xiao Ji's infatuation with Qiao Qiao drives much of the film's narrative.
430:"At first it was the bleak and lonely buildings that attracted me. When I saw the streets filled with lonely, directionless people, I became interested in them."
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Bin Bin and Xiao Ji decide to rob a bank, as they have seen so often in
American films. Attaching a fake bomb to Bin Bin's chest, Xiao Ji drives Bin Bin to a
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in his ranked top ten for 2003, but he did include it among an unranked list of 30 additional films he considered his "second-best favorites" for the year.
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production and greater ease of movement. As a result, Jia was able to begin shooting a mere three weeks after developing the idea for the film.
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in 2001, part of the new "Birth
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commented on the film, noting that even if "the world doesn't need another picture on disaffected youth...
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is also a frequent Jia collaborator and would help produce several of his subsequent films, including
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was relatively well received by western critics but with qualifications. Upon its premiere at the
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The cast and crew of the film consisted of a mix of Jia regulars and newcomers. Cinematographer
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scores of "61" (out of 100), or "Generally favorable reviews" and "fresh," respectively.
1447:"Unknown Pleasures: NEW YORK FILM FESTIVAL REVIEWS; Chasing A Dream But Getting Nowhere"
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as Xiao Ji's father, an uneducated man who mistakes a single US dollar to be a fortune.
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and
Beijing as depicted on television, and the lives of those who live in cities like
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are those that "are everywhere in evidence, yet satisfaction itself is beyond reach."
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was "Jia's most concentrated evocation of contemporary China's spiritual malaise."
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gave the film a much stronger review than many of his contemporaries, arguing that
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province. Whereas the earlier film ended with the destruction of a city block, in
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plays a small role in his own film as the opera-singing man seen throughout
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Berry, Michael (2002). "Jia
Zhangke: Capturing a Transforming Reality" in
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Bin Bin, meanwhile, following the advice of his mother, tries to join the
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follows three disaffected, aimless young people in the industrial city of
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In his production notes, Jia has stated that the portrayals of youth by
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held in South Korea. The competition (which also drew entries from
1540:"Sixteen Flashbacks-The 16th Singapore International Film Festival"
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Speaking in Images: Interviews with
Contemporary Chinese Filmmakers
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451:, his entry in a documentary competition sponsored by the 2001
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The film's setting carried its own significance. Like in
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The film was a co-production of four countries: Japan's
830:. For Jia, the year 2001 was particularly significant:
400:. Shattered, he borrows ¥1500 from a small-time crook
580:'s frequent collaborator (she also appears in Jia's
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as Bin Bin's mother, a proponent of the Falun Gong.
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1477:"New Dawn Fades: The Young and the Breathless"
1272:"Director aims lens at China's new generation"
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1576:"Metacritic: 2003 Film Critic Top Ten Lists"
343:) lives with his mother, an adherent of the
335:province throughout 2001. Nineteen-year-old
1195:. Google Book Search. Retrieved 2008-09-07.
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445:first came from Jia Zhangke's short film,
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1207:"Asia Pacific Arts: Presenting the World"
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294:is Jia's third feature film after 1997's
1187:. Columbia University Press, p. 182-83.
958:2002 Toronto International Film Festival
1709:An essay on ideology and aesthetics in
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1905:Swimming Out Till the Sea Turns Blue
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536:(Xiao Wu) are also Jia regulars.
1504:"Film Clips: Also Opening Today"
1025:Several American critics placed
1299:"An Interview with Jia Zhangke"
952:Awards, nominations, and honors
1445:Mitchell, Elvis (2002-09-28).
719:The "Birth Control" generation
518:, and the Golden Lion-winning
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1980:Films directed by Jia Zhangke
1965:2000s Mandarin-language films
1297:Jaffee, Valerie (June 2004).
1155:McCarthy, Todd (2002-05-26).
1128:McCarthy, Todd (2002-05-23).
661:(directed by cinematographer
1359:"Unknown Pleasures Presskit"
1238:Lee, Kevin (February 2003).
1101:Rooney, David (2002-05-22).
944:(twenty-eight reviews) give
1502:Nevius, C.W. (2003-04-11).
1475:Hoberman, J. (2008-01-28).
2001:
1538:Wee, Brandon (July 2003).
1157:"'Pianist' tickles Cannes"
1130:"Cannes 2002 a fest feast"
1103:"Unknown Pleasures Review"
1270:Yu Sen-Lun (2002-05-26).
970:2002 Cannes Film Festival
276:2002 Cannes Film Festival
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1205:Hu, Brian (2005-02-17).
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1509:San Francisco Chronicle
658:Love Will Tear Us Apart
413:China Construction Bank
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892:New York Film Festival
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524:. Along with producer
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314:state film bureaucrats
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260:Hu Tong Communications
143:May 23, 2002
860:, the entire city of
231:, starring Wu Qiong,
1924:Xiao Shan Going Home
1838:Mountains May Depart
1375:on November 15, 2006
828:2008 Summer Olympics
266:, and South Korea's
1985:2000s Chinese films
1975:Films set in Shanxi
1960:Chinese drama films
1854:Caught by the Tides
1846:Ash Is Purest White
1609:(January 9, 2003).
1607:Rosenbaum, Jonathan
1528:See external links.
679:international trade
282:'s Holocaust film,
1765:Films directed by
1706:Postsocialist Grit
1673:TCM Movie Database
1623:on October 6, 2021
1611:"Against the Tide"
1452:The New York Times
1392:Berry, p. 199-200.
1070:Jonathan Rosenbaum
1041:- Robert Koehler,
1033:2nd - Dennis Lim,
990:Official Selection
975:Official Selection
963:Official Selection
940:(ten reviews) and
840:Datong and Beijing
622:Unknown Pleasure's
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1719:Offscreen Journal
1715:Unknown Pleasures
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1482:The Village Voice
1410:Berry, p. 186-87.
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92:Cinematography
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1311:on 2008-07-29
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1252:on 2008-06-19
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1240:"Jia Zhangke"
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1213:on 2007-05-04
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476:
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1625:. Retrieved
1621:the original
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1586:the original
1579:
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1550:the original
1543:
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1513:. Retrieved
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1486:. Retrieved
1480:
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1450:
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1397:
1388:
1377:. Retrieved
1370:the original
1313:. Retrieved
1309:the original
1302:
1292:
1281:. Retrieved
1277:Taipei Times
1275:
1265:
1254:. Retrieved
1250:the original
1243:
1215:. Retrieved
1211:the original
1200:
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1166:. Retrieved
1160:
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1133:
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759:Pulp Fiction
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534:Wang Hongwei
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417:Ren Xiao Yao
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387:Ren Xiao Yao
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374:Pulp Fiction
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227:directed by
225:Chinese film
211:Rèn xiāo yáo
209:
192:
191:
190:
159:Running time
136:Release date
124:
116:
1916:Short films
1767:Jia Zhangke
1047:(tied with
916:J. Hoberman
747:Zhao Weiwei
736:Jia Zhangke
702:Jia Zhangke
578:Jia Zhangke
547:Zhao Weiwei
526:Li Kit Ming
379:discotheque
341:Zhao Weiwei
331:in China's
285:The Pianist
264:Lumen Films
262:, France's
233:Zhao Weiwei
229:Jia Zhangke
180:Jin Chinese
163:113 minutes
78:Zhao Weiwei
64:Li Kit Ming
56:Produced by
50:Jia Zhangke
40:Jia Zhangke
36:Directed by
1955:2002 films
1949:Categories
1814:Still Life
1684:Metacritic
1627:October 5,
1592:2009-01-17
1581:Metacritic
1556:2008-09-06
1515:2008-09-07
1488:2008-09-06
1458:2008-09-06
1379:2008-09-06
1315:2008-09-07
1283:2008-09-07
1256:2008-09-07
1217:2008-09-07
1168:2008-09-07
1141:2008-09-07
1114:2008-09-07
1086:References
938:Metacritic
807:Sun Wukong
663:Yu Lik-wai
595:Still Life
521:Still Life
504:Chow Keung
496:Yu Lik-wai
423:Production
345:Falun Gong
300:and 2000s
272:Palme d'Or
268:E-Pictures
258:, China's
147:2002-05-23
107:Chow Keung
97:Yu Lik-wai
46:Written by
1873:In Public
1806:The World
883:Reception
694:Liu Xi'an
675:Yuan Yuan
613:Li Zhubin
589:The World
574:Qiao Qiao
515:The World
502:. Editor
448:In Public
398:hepatitis
361:Li Zhubin
353:Qiao Qiao
316:(SARFT).
309:The World
176:Languages
103:Edited by
1790:Platform
1711:Platform
1662:AllMovie
1050:Platform
1011:Award —
1005:FIPRESCI
867:Shanghai
790:Zhuangzi
771:Pleasure
751:Zhao Tao
743:Wu Qiong
652:Platform
618:Qiao San
606:hedonism
583:Platform
569:Zhao Tao
558:Wu Qiong
530:Zhao Tao
383:Zhuangzi
357:Qiao San
303:Platform
237:Zhao Tao
86:Zhao Tao
82:Wu Qiong
74:Starring
1889:Useless
1822:24 City
1782:Xiao Wu
1671:at the
1162:Variety
1135:Variety
1108:Variety
1072:of the
1044:Variety
932:Variety
900:critic
894:, then
846:Xiao Wu
835:itself.
646:Xiao Wu
640:Xiao Wu
635:Xiao Wu
601:24 City
562:Xiao Ji
552:Bin Bin
509:24 City
402:Xiao Wu
349:Xiao Ji
337:Bin Bin
297:Xiao Wu
274:at the
198:Chinese
168:Country
145: (
95:Nelson
1935:(2008)
1927:(1995)
1908:(2020)
1900:(2010)
1892:(2007)
1884:(2006)
1876:(2001)
1857:(2024)
1849:(2018)
1841:(2015)
1833:(2013)
1825:(2008)
1817:(2006)
1809:(2004)
1801:(2002)
1793:(2000)
1785:(1997)
1191:
1009:NETPAC
871:Datong
862:Datong
854:Shanxi
714:Themes
686:Bai Ru
598:, and
465:Datong
333:Shanxi
329:Datong
256:T-Mark
241:Datong
208::
206:pinyin
200::
1373:(PDF)
1362:(PDF)
625:club.
171:China
1881:Dong
1713:and
1651:IMDb
1629:2021
1189:ISBN
997:2003
982:2002
813:2001
726:"In
540:Cast
459:and
320:Plot
254:and
235:and
222:2002
217:lit.
1728:at
1717:at
1698:at
1682:at
1660:at
1649:at
796:In
673:as
655:or
633:as
616:as
572:as
560:as
550:as
394:PLA
371:'s
363:).
202:任逍遥
1951::
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196:(
149:)
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