Mountains May Depart by Jia Zhang-Ke
Ivan Magrin-Chagnolleau
The Metaphor of the Frame
In this beautiful film, Jia Zhang-Ke portrays a China in transition. The film is divided into three parts, each set in a different era. The first two take place in China, set respectively at the end of the 20th century and in the present day. The third part takes place in Australia in the future. In each part, we encounter the same characters, who are trying to make sense of their lives and their changing country, with the third part in Australia representing, in a way, immigration to a promised land where life would be better.
This transformation of China and the mindset of its inhabitants is metaphorically underscored by the aspect ratio, which is 4:3 in the first part (i.e., a format that is almost square and therefore narrow), and shifts toward 2.35:1 in the third part (i.e., the most panoramic and therefore widest format). The film also very subtly explores the transformation of the relationships between the characters over time, and as a consequence of the choices they have made. The third part also raises the question of identity for the main character’s son, who grew up in Australia and feels perfectly integrated into this new society and culture—which is not the case for his parents, who grew up and spent most of their lives in China. The film is enhanced by highly effective direction.
Director: Jia Zhang-Ke
Screenplay and Dialogue: Jia Zhang-Ke
Production Design: Liu Qiang
Music: Hanno Yoshihiro
Editing: Matthieu Laclau
Sound: Zhang Yang
Cast:
Zhao Tao (Tao)
Zhang Yi (Jinsheng)
Liang Jingdong (Liangzi)
Chang Sylvia (Mia)
Dong Zijang (Daole)