Black ink drips from the tip of a brush and daggers into clear water, spiraling out like smoke; a Chinese zither sounds a ferocious, twanging note that warps and buckles in its sustain; rain mottles the sky to a heavy watercolor gray, forming pools on paving stones into which warriors bleed; whispery drafts from hidden palace chambers stir tendrils of hair and set the hems of luxuriant, patterned robes fluttering. Every supremely controlled stylistic element of Zhang Yimou’s breathtakingly beautiful “Shadow” is an echo of another, a motif repeated, a pattern recurring in a fractionally different way each time.
After 2014’s semi-autobiographical “Coming Home,” which had soul but little spectacle, and 2016’s “The Great Wall” — all spectacle and no soul — it seemed like the Himalayan peaks of the revered Fifth Generation filmmaker’s career might now be behind him. But here, almost insouciantly and with little fanfare, comes “Shadow,...
After 2014’s semi-autobiographical “Coming Home,” which had soul but little spectacle, and 2016’s “The Great Wall” — all spectacle and no soul — it seemed like the Himalayan peaks of the revered Fifth Generation filmmaker’s career might now be behind him. But here, almost insouciantly and with little fanfare, comes “Shadow,...
- 9/8/2018
- by Jessica Kiang
- Variety Film + TV
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