In the early minutes of Chinese director Yang Chao’s sophomore feature, a fish is thrown into a bowl of water somewhere along an anonymous riverbank, darkened with bluish hues, lit only by the gleam of fire. It’s a mightily fine shot that probably would have made a bigger impact if some recent déjà vu courtesy of The Revenant hadn’t kicked in. That said, its serene beauty and intrinsically fabulous quality set quite the visual/metaphorical stage for a surrealist exploration of nature and men. Moreover, the thought of what legendary cinematographer Mark Lee Ping-Bin – Taiwan’s answer to Lubezki, who’s lensed almost the entire filmography of Hou Hsiao-Hsien – can do with this is nothing short of mouth-watering.
Unfortunately, things kind of go downhill from there.
It’s a thankless job to synopsize what happens in Crosscurrent because happen is a strong word for something with...
Unfortunately, things kind of go downhill from there.
It’s a thankless job to synopsize what happens in Crosscurrent because happen is a strong word for something with...
- 10/31/2016
- by Zhuo-Ning Su
- The Film Stage
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