SIFF 2016 Report #2: The Big Road, The Island Funeral, Heaven Can Wait, The Final Master and My Beloved Bodyguard

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Brief accounts of a handful of films from the SIFF’s second week as it rolls into its third.

The Big Road (Sun Yu, 1935) – Something like an amalgam of Our Daily Bread and Mrs. Miniver for the Anti-Japanese War, by which I mean it’s a propaganda film celebrating first the communal virtues of collectivist rural life (the hard work of uniting the nation through literal road-building) and then the bold heroism of that collective as it stands against Imperialist aggression, in the form of the traitorous land-owning, but not land-working, class (relics of Old China, these rulers wear 19th Century clothes, and live in Qing mansions, the feudal system in opposition to the power of the Modern Industrial Worker). It ambles, plotless for most of its length, but it’s accumulated enough power that by the end, as its hero (eight characters combine to form one hero, a communist Voltron) is smashed to bits by advanced machines of war, it resembles nothing less than “Guernica” in its devastation.

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Ip Man 3 (Wilson Yip, 2015) and Monster Hunt (Raman Hui, 2015)

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The disaporic film program at the AMC Pacific Place this week features two of the hottest Chinese-language films of the past year: the latest in Donnie Yen’s series about Wing Chun Master Ip Man and the CGI monster-wuxia that took the Chinese box office by storm last summer, breaking records on its way to becoming the highest-grossing local film in the Mainland’s history. The two films represent state of the art variations on the two oldest forms of the Chinese martial arts film, kung fu and wuxia tricked out with digital manipulations and effects, packed with enough celebrity cameos and show-stopping stunts to make even the most generic or implausible story a lot of fun.

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