Director of “Oxhide” I and II, Liu Jiayin, had not shot anything since the latter and 2009, since he spent most of his time as an associate professor of screenwriting at the Beijing Film Academy. It seems that his days there have also given him inspiration, as the story of his newest movie, “All Ears” focuses on a mediocre screenwriter.
All Ears is screening at Vesoul International Film Festival of Asian Cinema
The aforementioned character is Wen Shan, who is struggling to make a living in Beijing, as his script writing, and particularly his inefficiency of creating a captivating, full fledged character are causing significant issues for him, while it becomes obvious that the pace of the megalopolis does not suit him exactly. By chance, he ends up writing eulogies, which he does so in the most meticulous fashion, meeting the families of the deceased, observing them carefully, listening to their stories and finally putting them to paper. Through his three works in the field, and the people he meets, including a woman who is angry with his eulogy and comes to Beijing to meet him even ending up in his house, Wen Shan gradually finds himself a place to inhabit, while realizing his own normality as something not necessarily bad.
Liu Jiayin directs a meticulous film, which essentially functions as a lesson in (script) writing on a number of occasions, while making a number of comments, with the most central one being the aforementioned about being normal. Regarding the first aspect, the way Wen Shan goes about preparing his eulogies is the main source, with the board in his house and the discussions he has, highlighting his procedure in the best fashion. At the same time, this aspect is connected to the second one as all of the people he writes for, despite their differences, are actually ‘normal' people. As such, the question of whether the lives of ordinary people can become the material of a movie that is remarkable lingers above the whole movie, although the answer in the end, based on the particular movie, is not exactly clear.
Furthermore, the alienation of the megalopolis and the difficulties people who are not from similar backgrounds face when moving there are presented quite eloquently, along with the professional, social and familial problems the particular setting raises. A philosophical question about whether being kind means being weak is also explored, cementing the rather rich context here. Also of note, particularly since it breaks the permeating realism of the film, is the presence of the character the protagonist wants to create, who is actually depicted as living in his apartment and interacting with him. This element is both entertaining and adds a very appealing surreal/meta element to the narrative.
While a number of the aforementioned aspects are smartly presented, the truth is that the first act of the movie is too slow and uneventful, while the ending definitely lags, essentially making the movie appear even slower than it actually is. In that regard, Yan Yiping's editing could definitely be better, as the movie would definitely benefit from significant trimming, although the retaining of the pace is definitely an achievement. Zhou Wencao's cinematography moves in realistic paths, without particular exaltations.
Hu Ge in the role of Wen Shan is quite convincing in presenting the many layers of his character, in an anchoring performance that works quite well for the movie, also because he manages to retain a sense of measure throughout.
“All Ears” is a film worth watching, particularly for art house fans of the style of Zhang Lu and Hong Sang-soo, although a briefer duration would definitely benefit the whole thing.
