A documentary on China, concentrating mainly on the faces of the people, filmed in the areas they were allowed to visit. The 220 minute version consists of three parts. The first part, ... See full summary »
Twenty-three years after L'Avventura (1960), Michelangelo Antonioni returns to Lisca Bianca Island. The rarefied atmosphere of Lea's disappearance is recalled by some audio excerpts from the original movie.
A documentary on China, concentrating mainly on the faces of the people, filmed in the areas they were allowed to visit. The 220 minute version consists of three parts. The first part, taken around Beijing, includes a cotton factory, older sections of the city, and a clinic where a Cesarean operation is performed, using acupuncture. The middle part visits the Red Flag canal and a collective farm in Henan, as well as the old city of Suzhou. The final part shows the port and industries of Shanghai, and ends with a stage presentation by Chinese acrobats. Written by
In 1972, during Mao's Cultural Revolution, Michelangelo Antonioni was invited by the People's Republic of China to direct a documentary about New China. The result was a three-and-a-half-hour long film, divided into three parts. Mao disliked it so much that Michelangelo Antonioni was consequently charged with being anti-Chinese as well as counterrevolutionary. The movie was finally shown at Beijing's Cinema Institute 30 years later. See more »
This documentary film was made by Antonioni during a Stay of five weeks in China invited by the Chinese government. In the soon 70' there was scarcely any information of China, so this was the oportunity to take a look to this country. Antonioni as the narrator says it at the beginning: "We have just wanted to get a picture of China, we can't offer more". The film shows a lot of faces and tries to show the custom, gestures of the Chinese. It is apparently rather neutral politically, but some clues show that Antonioni felt the repression existing in China. But it is also very interesting as an Antonioni film: it was made between "Zabriskie Point" and "The passenger", his final and definitive masterpiece. In those years, Antonioni changed some of his opinions about cinema and these aspects are very interesting to see in Chung Kuo.
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