"One China" Guo Xiaolu, a film about desires elsewhere but also a beautiful portrait of a woman.
A young girl Li Mei, bored in her provincial life, a life made of dull pocket daily lives, where nothing happens. She dreams of escape from this life and join the big city.
The theme of the film Xiaolu Guo is this girl, Mei Li. From it, we do not know much, she lives with her parents, already elderly, in a province still rural. She works in a small tavern at the edge of a road crossing point, also place where youth congregate around who spend their time with endless games of billiards.
The director is Mei Li, an allegorical image of Chinese youth. Through Li Mei emerges in hollow, desires, aspirations of the Chinese youth trapped in the contradictions of a society torn between ultra-modernity and tradition. But, beyond this an example that seems to embody a priori Mei Li, Guo Xiaolu takes the ways of the story of initiation and shape for his character, a tough journey, sometimes painful, in which Li Mei win its independence.
"One China" is a film about globalization and its consequences in the minds of young Chinese today, wedged between a Communist past still near their parents, and a present marked by unfettered capitalism . A film about migration, primarily those internal to China, Li Mei became the archetypal portrait of these young people, caught between the prospects bleak futures in rural China, begin to listen to the song sirens of the city, and rush like fireflies to light. These large cities, the Chinese growth engine, represent them as much hope for a richer life than a life more in keeping with the canons of modernity.
The introductory shots speak volumes: the encounter with the young freedman, who left the village and living in Shenzen, playing amazes front of his friends with his scooter with his clothes, his money. This represents the eyes of young Li Mei, all this modernity, all she wants to be everything she wants to have everything that is away from the monotony province she lives with her parents.
But these great cities, for hope is also that of disillusionment for many and quickly transformed into a jungle or a nightmare for many of those uprooted from the provinces who come here to fail.
Li Mei, who was hired in a factory, made this experience very quickly. It does not cadenzas is done out of doors. This gives rise to a dismissal genuine public trial sessions worthy of condemnation and self-criticism Communists.
This sequence can also ask to Guo Xiaolu intelligently realities of the Chinese society where the long forced march to capitalism is not encumbered by scruples, leaving many people on the floor, capitalism and consumption n 'is not synonymous with democracy and respect for human rights, far from it.
Li Mei or others left behind, so few choices, living by his wits, live on the margins, make the choice for some of life of crime as spikey, a killer, Li Mei fell in love with and eventually killed.
The mirage for many in the form of Western countries. Mi Lei share in Europe in London. These desires also take in the film form of lithographs. Li Mei will have a picture of London on a schedule for these images from elsewhere, often stereotypical, come feed the imagination of these young people seeking a better world. London, Paris or New York to become mental recurrences. The soundtrack, also excellent, consisting partly of Chinese rock bands has a rhythm and strengthen this part fantasy.
In London, Li Mei is confronted with the situation of immigrants without papers, she spent odd jobs in odd jobs, sleeping among sellers of sleep a periphery away from his dreams anonymous postcards. The universe in which she lives, is also restricted in their province or in Shenzen. No horizon, living conditions are much better. The director also runs fine differences of cultures, the differences between communities that intersect in the modern Babylon are the major Western cities. His relationship with Rachel, an Indian Muslim, is one example, which approximates the outset, the youth, the same conditions of existence is precarious, will soon move away to make room for misunderstanding. Rashid, a sort of male counterpart Li Mei him mentally perform the reverse path of Li Mei and return to his country. But
Xiaolu Guo's film is another kind of escape, of openness. this escape takes the form of an initiatory journey. What will finally Li Mei at the end of this route: it herself.
Part of an enclosed world, his home province, where the woman is still treated as inferior, on which all rights are Mei Li lives in a world of men, whether in China or later Great Britain, they impose their domination, women suffer doubly precarious. Not only
Li Mei will eventually leave, but in his journey, she will gain her freedom. Li Mei is a character who grows in strength, initially frail, fragile, she defeated bids gradually. Firstly that of his parents, his middle, then raped, she does not resign. Whether with his romantic relationships with Spikey, relationship in which she discovers her body, physical desire, either with Mr. Hunt, an Englishman older with whom she married out of necessity and leave it for Rachid, little little, Li Mei finally becomes independent access to freedom of woman.
A young girl Li Mei, bored in her provincial life, a life made of dull pocket daily lives, where nothing happens. She dreams of escape from this life and join the big city.
The theme of the film Xiaolu Guo is this girl, Mei Li. From it, we do not know much, she lives with her parents, already elderly, in a province still rural. She works in a small tavern at the edge of a road crossing point, also place where youth congregate around who spend their time with endless games of billiards.
The director is Mei Li, an allegorical image of Chinese youth. Through Li Mei emerges in hollow, desires, aspirations of the Chinese youth trapped in the contradictions of a society torn between ultra-modernity and tradition. But, beyond this an example that seems to embody a priori Mei Li, Guo Xiaolu takes the ways of the story of initiation and shape for his character, a tough journey, sometimes painful, in which Li Mei win its independence.
"One China" is a film about globalization and its consequences in the minds of young Chinese today, wedged between a Communist past still near their parents, and a present marked by unfettered capitalism . A film about migration, primarily those internal to China, Li Mei became the archetypal portrait of these young people, caught between the prospects bleak futures in rural China, begin to listen to the song sirens of the city, and rush like fireflies to light. These large cities, the Chinese growth engine, represent them as much hope for a richer life than a life more in keeping with the canons of modernity.
The introductory shots speak volumes: the encounter with the young freedman, who left the village and living in Shenzen, playing amazes front of his friends with his scooter with his clothes, his money. This represents the eyes of young Li Mei, all this modernity, all she wants to be everything she wants to have everything that is away from the monotony province she lives with her parents.
But these great cities, for hope is also that of disillusionment for many and quickly transformed into a jungle or a nightmare for many of those uprooted from the provinces who come here to fail.
Li Mei, who was hired in a factory, made this experience very quickly. It does not cadenzas is done out of doors. This gives rise to a dismissal genuine public trial sessions worthy of condemnation and self-criticism Communists.
This sequence can also ask to Guo Xiaolu intelligently realities of the Chinese society where the long forced march to capitalism is not encumbered by scruples, leaving many people on the floor, capitalism and consumption n 'is not synonymous with democracy and respect for human rights, far from it.
Li Mei or others left behind, so few choices, living by his wits, live on the margins, make the choice for some of life of crime as spikey, a killer, Li Mei fell in love with and eventually killed.
The mirage for many in the form of Western countries. Mi Lei share in Europe in London. These desires also take in the film form of lithographs. Li Mei will have a picture of London on a schedule for these images from elsewhere, often stereotypical, come feed the imagination of these young people seeking a better world. London, Paris or New York to become mental recurrences. The soundtrack, also excellent, consisting partly of Chinese rock bands has a rhythm and strengthen this part fantasy.
In London, Li Mei is confronted with the situation of immigrants without papers, she spent odd jobs in odd jobs, sleeping among sellers of sleep a periphery away from his dreams anonymous postcards. The universe in which she lives, is also restricted in their province or in Shenzen. No horizon, living conditions are much better. The director also runs fine differences of cultures, the differences between communities that intersect in the modern Babylon are the major Western cities. His relationship with Rachel, an Indian Muslim, is one example, which approximates the outset, the youth, the same conditions of existence is precarious, will soon move away to make room for misunderstanding. Rashid, a sort of male counterpart Li Mei him mentally perform the reverse path of Li Mei and return to his country. But
Xiaolu Guo's film is another kind of escape, of openness. this escape takes the form of an initiatory journey. What will finally Li Mei at the end of this route: it herself.
Part of an enclosed world, his home province, where the woman is still treated as inferior, on which all rights are Mei Li lives in a world of men, whether in China or later Great Britain, they impose their domination, women suffer doubly precarious. Not only
Li Mei will eventually leave, but in his journey, she will gain her freedom. Li Mei is a character who grows in strength, initially frail, fragile, she defeated bids gradually. Firstly that of his parents, his middle, then raped, she does not resign. Whether with his romantic relationships with Spikey, relationship in which she discovers her body, physical desire, either with Mr. Hunt, an Englishman older with whom she married out of necessity and leave it for Rachid, little little, Li Mei finally becomes independent access to freedom of woman.
Do not know much about Li Mei, the deal just sketches, for keys, without deepening the character in appearance, is a deliberate choice by Guo Xiaolu allowing one hand to Li Mei A representative figure of Chinese youth, but also not falling into a portrait psychologizing, Li Mei became this figure of freedom, emancipation of women. Guo Xiaolu
finally let his character sail on his own for after Li Mei seems to have occurred.
finally let his character sail on his own for after Li Mei seems to have occurred.
"One China"
Director: Xiaolu Guo
China / UK
with
Mei: Huang Lu
Spikey: Wei Bo
Mr. Hunt: Geoffrey Hutchings
Rashid: Cris Ryman
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