A mid-2000s departure from his wuxia epics, Zhang’s largely restrained work about an aged Japanese father travelling to China to film a traditional mask opera for his estranged dying son ultimately teeters towards the emotionalism of the director’s earlier melodramas.
Zhang’s latest, an espionage thriller set in 1930s Manchuria, mostly works as a violent, intricately-plotted genre exercise about spies and traitors.
It doesn’t always work, but Zhang Yimou’s delayed new picture, about a man trying to find a reel of film that contains a shot of his long-lost daughter, features stunning performances from Zhang Yi and newcomer Liu Haocun.
A return to form in some ways, Zhang’s monochrome martial-arts drama is visually gorgeous but not always compelling.
Fairly entertaining inasmuch as it is a CG-fest ‘historical fantasy’ with spectacular visual flourishes, but ultimately generic and mechanical in its execution.
The plot may involve repetition, but the dramatic power of its execution sees Zhang return close to the form of his early 1990s works.
A surprisingly uneven film with a lack of character and historical focus on 1937 Nanking.
A beautiful love story, directed and acted with such artful simplicity that it is difficult not to fall in love with its purity.
Possibly the worst film in Zhang Yimou’s career, this remake of the Coens’ ‘Blood Simple’ is a travesty on every count.
Zhang Yimou’s best film of the 2000s decade, this is a drama-cum-tragedy that is never uncomfortable to reveal its sentimentalism amid stunning action set-pieces.
Eternality Tan 