What is China? Looking Behind Things with Director Zhao Dayong

If you read my post on The High Life back in June, you'll know I'm a fan of director Zhao Dayong (pictured left, image by David Bandurski), one of the most innovative and intriguing filmmakers to have surfaced in China in recent years. Zhao's career began with the feature-length documentary Street Life in 2006, but he first attracted international attention with his following up film, the epic documentary Ghost Town, which I wrote about for RealTime. More recently Zhao unveiled his first dramatic feature, The High Life, at the Hong Kong International Film Festival in March, where the film won the Silver Digital Award and the FIRPRESCI Prize.

A Black, Absurdist Take on Modern China: Zhao Dayong’s The High Life

Recently I had the opportunity to see Zhao Dayong’s The High Life (pictured left) on DVD, my second viewing after a screening at the Hong Kong International Film Festival back in April, where the film scooped the FIRPRESCI Critics’ Jury Prize and the Silver Award in the Asian Digital Competition. I’d enjoyed the film in Hong Kong, but as so often happens at festivals there was little time to reflect on it before it was swept away by the sights and sounds of another half dozen movies in the days following. Happily, my positive impression of the film was only reinforced by a second viewing on DVD.