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CRY WOMAN shares a similar cinematic aesthetic with the films of Jai Zhang-ke, (especially Jai's excellent UNKNOWN PLEASURES), with its use of naturalism (particularly noticeable in the acting and camera-work); direct, unadorned images; gritty contemporary settings; and distinct sociopolitical overtones. The performances are broader (as is the humour), but the steady trajectory towards the final, darkly cathartic, moving conclusion is very well handled. This is an excellent example of sixth-generation filmmaking.
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