Shijie (2004)

User Rating:

6.9/10   

Director:

Zhang Ke Jia

Writer:

Zhang Ke Jia (writer)

Release Date:

18 March 2005 (Canada)

Genre:

Drama

Plot:

An exploration on the impact of urbanization and globalization on a traditional culture.

Plot Keywords:

Dancer | Theme Park | Security Guard | Chinese | Language Barrier

Awards:

3 wins & 2 nominations

Cast

Tao Zhao	...	Tao
Taisheng Chen	...	Taisheng
Jue Jing	...	Wei
Zhong-wei Jiang	...	Niu
Yi-qun Wang	...	Qun
Hongwei Wang	...	Sanlai
Jing Dong Liang	...	Tao's ex-boyfriend
Shuai Ji	...	Erxiao
Wan Xiang	...	Youyou
Alla Shcherbakova	...	Anna
rest of cast listed alphabetically:
Sanming Han
Juan Iu	...	Yanqing
Xiaodong Liu	...	Karaoke singer
Xiaoshuai Wang

Also Known As:

The World (International: English title) (USA) (literal English title)
World (USA) (festival title)

Runtime:

Italy:140 min | USA:143 min | Argentina:143 min (Buenos Aires Festival Internacional de Cine Independiente) | 105 min (theatrical version)

Country:

China | Japan | France

Language:

Mandarin | Shanxi | Russian

Color:

Color

Aspect Ratio:

2.35 : 1

Sound Mix:

Dolby SR

Certification:

Brazil:14 | Australia:PG | Iceland:L | South Korea:15 | Argentina:13 | Singapore:NC-16

Filming Locations:

Beijing World Park, Beijing, China

Company:

Office Kitano

Trivia:

Visa d'exploitation en France : # 111851.

Quotes:

Taisheng: Are we dead?
Tao: No, we have only just begun.

Movie Connections:

References Titanic (1997)

See the world in a day.

"The World" is set in the tacky eponymous Beijing theme park and details the lives of the alienated young workers who are spiritually and physically trapped there. It's a subtle, delicate, yet powerful film with a directing style that can best described as artfully unobtrusive. The young director/writer is a master of composition, camera movement and sound. Some of the scenes unspool without editing for several minutes, the camera mostly still, sometimes moving with the action but never on the whim of the filmmaker. Sound and dialogue occur off-screen in a way that reminds one of the great Japanese director Ozu. (Indeed, one of the film's inter-titled chapters is called "Tokyo Story".

One of the best examples of this style is a grimy hotel room scene between the lead couple in which very little happens--an attempted seduction, but no sex--that is so authentic it feels almost voyeuristic to watch. In another scene, a father counts and pockets four stacks of money bestowed to him by the authorities for the accidental death of his son, his face an expressionless mask that hides more pain than could ever be shown. In an opening scene the camera tracks a female dancer running through a theatre backstage, pleading for a band aid she will never get--thus slyly presaging the untreatable tragedies that will eventually unfold.

The central characters are so alone, alienated and unable to communicate in any meaningful way--much of the dialogue is spoken into the ubiquitous cellphones--that the closest any two people come together are two woman--one Chinese, the other Russian--who don't speak a word of each other's language.

This is the best kind of social commentary a film can offer, images that show and don't tell. At times it feels plodding--especially the last half hour--some of the characters could use more development, and the animated cellphone sequences seem unnecessary and distracting. But the depiction of contemporary urban China's deepening social malaise--the result of far too rapid urbanization and unchecked Westernization--is troubling enough to make one fear the country's--and the world's--future.