There are always one or two duds in these omnibus things, so let’s get those out of the way. Beautiful 2016’s first short is an embarrassing Ozu homage that repurposes his hometown (Kamakura) and his one-time actress (Kyoko Kagawa), though if you’re going to steal from the master, at least do us the favor of making off with some of his good humor. A dull banality best left forgotten. Dama Wang Who Lives on Happiness Avenue is quite possibly already forgotten. An indistinct void focused on a spritely, well-coiffed older woman jazzercising her way through Shangahi, Alec Su’s debut short is mercifully, well, short.
A real sense of artistry kicks in with One Day in Our Lives of…Director Stanley Kwan crafts some lovely images of nocturnal Hong Kong, his sense of texture undiminished even after a decade or so out in the wilderness. Distorted Wongian clocks, vertiginous tilts, and a weirdly haunting pop song provide the primary pleasures, though the Day for Night behind-the-scenes antics feel a bit stale. Kwan, once an inheritor of Hong Kong’s art-film tradition, seems to have lost opportunities as the industry shifted production modes this century, though it’s perhaps equally plausible that Kwan’s open life as a gay man curtailed his early promise. Whatever the case, One Day in Our Lives of… should prod those who’ve ignored Kwan for a decade or more (guilty as charged!) to give films like Everlasting Regret a belated look.
Jia Zhangke, on the other hand, is at the apex of his career. He comes swinging into Beautiful 2016—and I do mean swinging—with the swagger of a filmmaker who recognizes his own mid-career mastery. That self-knowledge is not, however, a straight-jacket for Jia. If anything, he’s discovered a more elastic vision of himself as an artist, willing to let in a kind of looseness that he kept at bay with the more static, calling-card early films. Last year’s Mountains May Depart proved that definitively, so it’s not coincidental that The Hedonists begins with a snatch of melancholic score from the prior feature. The presence of Jing Dong Liang as Liangzi, the poor miner destined for destruction in Mountains May Depart, also reiterates that we’re in a pre-established world. But without wasting time, Jia reconfigures the melodrama of his 2015 masterpiece into a buddy comedy. The transition plays subtly at first, until an uproarious cameo from the director himself, equipped with cigar and sunglasses and shouty bravado, brings down the house. Jia’s sense of play extends to the camera too, which he mounts on a newly acquired drone. Given that Jia helped reorient the Chinese film industry around digital technology, it shouldn’t come as a surprise that he employs the newest tech better than just about anyone else. But when a standard tracking shot suddenly achieves lift off and ascends to the heavens, a genuine sense of wonder sets in. At this point in Jia’s career, you can only marvel at the corporeal and artistic weightlessness.