A still from director Lou Ye's new film, Saturday Fiction (2019), which is set in Shanghai, in 1941. Photo: Toronto International Film Festival
Clarence Tsui
Opinion

Opinion

The Projector by Clarence Tsui

Lou Ye’s film Saturday Fiction gets lukewarm reception – has Chinese filmmaker been crushed by burden of expectation?

  • Critical consensus is that the new movie fails to live up to the last, which looked at contemporary China through the lens of social realism
  • But is there more the evocative story of love and betrayal at the heart of Saturday Fiction than meets the eye?

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A still from director Lou Ye's new film, Saturday Fiction (2019), which is set in Shanghai, in 1941. Photo: Toronto International Film Festival
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Gong Li and Mark Chao in a still from Saturday Fiction (category to be confirmed), directed by Lou Ye. Photo: Ying Films

Venice 2019: Saturday Fiction film review – Gong Li in a Chinese Casablanca, Lou Ye’s evocative spy thriller

  • Black-and-white tale of spies, lovers, desperation and betrayal set in Japanese-occupied wartime Shanghai feels like a Chinese version of Casablanca
  • Gong Li excels as an actress back from Hong Kong to appear in a play; no one is who they seem in this densely plotted film that keeps you gripped to the end
Topic |   Chinese language cinema

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Gong Li and Mark Chao in a still from Saturday Fiction (category to be confirmed), directed by Lou Ye. Photo: Ying Films
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