by Joseph Davis, Contributing Writer
Anyone who has read my entries for the Best Ever Challenge knows that I often approach movies as someone who has never seen them before. This has led me to some truly amazing films, including some of the greatest movies that Hollywood has to offer. However, this got me wondering one day, what movies out there in the wider world of cinema have been overshadowed by the lights of Tinseltown and never quite received the audience in the United States that they deserved? Sure, films like Parasite and Roma have well-earned love and awards here in the U.S., but what else is out there that was overlooked here in the States? This is the genesis of the series Out of Market, where each month I sift through the wide world of film looking for the unsung greats of foreign cinema, old and new, that saw at best a limited U.S. theatrical release and pop them to the forefront as something worthy of a wider American audience for more people to watch and appreciate. So prep your travel bags and get the popcorn as we travel to the wider world of film.
For our first stop, we travel to the largest movie market outside North America (if it isn’t already the biggest movie market in the world) for the 2018 Chinese drama, Ash is Purest White (as of this writing, it is streaming on Amazon Prime). Written and directed by Jai Zhangke, and starring Tao Shao and Fan Liao, this film premiered at the 2018 Cannes Film Festival, but only saw a limited release in the United States, making less than half a million here. The fact that it was never seen widely here makes me a bit sad, to be honest, because this is a truly enrapturing movie, depicting the lives of Guo Bin (Liao Fan), a “jianghu” in the city of Datong, and Zhao Qiao (Zhao Tao), his girlfriend, from the early 2000s to the beginning of 2018.
From the start, the film shows the decline of the city’s main industry, the lifestyle that Bin’s work in the criminal underworld provides for Qiao, the lengths Qiao goes to protect and help Bin, and how each of their lives change over the course of the film in fascinating ways. They make it hard to pull your eyes from the screen as their stories continue to separate only to intertwine once again. In their interactions, you can see the acting prowess of both Zhao Tao and Lia Fan as they effortlessly bring their characters to life and show their growth and change over the years.
One thing that I think can make or break a film is its cinematography and camerawork, with truly excellent camerawork causing a film to take that next step. For me, it is clear that Jai Zhangke takes that step and knows how to hold your attention and show you exactly what he wants you to see. Early in the film, while introducing our main characters, he opts for what seems like a 3:2 aspect ratio, which is a way to make it feel as if we are in the early 2000s, before he adopts a more traditional aspect ratio, akin to what we see today, for the rest of the film. While I’m not completely sure why the director chose this route, I very much welcome it, as it adds an unexpected artistic wrinkle to the film.
There is also amazing camerawork throughout this movie as we follow Qiao along her journey. This allows you to get a neat and unique look at life inside China, from the people, to the industries and the ways they change over the years. The architecture and culture often take center stage, while it also shows how technology changes during the time period, from phones that limited the minutes you could use it to the smartphones that have grown to dominate the market today. Finally, the music in this film is in all honesty beautiful, with some amazing pieces placed in moments where they seem fitting, and a surprise moment with a song by The Village People early in the film providing a unique twist.
In the end, do I think someone who lives in the United States should watch this film? The answer for this movie is a wholehearted yes. The story is well fleshed out and keeps you enraptured, with great camerawork, strong acting performances by all the characters, and a wonderful soundtrack that makes a film well worth the watch, as you see the growth and change of the characters Jai Zhangke has brought to the screen. It is a bit of a slow burn, but that doesn’t make it any less enjoyable to watch, and the film is all the better for it.
Now this is the part where you, dear reader, come in. Do you know of a non-U.S. film that only saw a limited release, or maybe even no release at all, here in the States that you believe deserves wider recognition? Then drop a line with any and all suggestions by tagging me on Twitter and I’ll take a look, and possibly a deep dive, into the film.
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