The concept of urban development in China has been repeatedly explored in the mainland’s arthouse cinema, with the impact it had on the people who see their houses demolished and new neighbors erected, posing a rather intriguing theme, as we have seen in movies like Jia Zhang-ke “Still Life” for example. Ding Wenjian, himself an architect, presents his take on the subject through a story that looks distinctly personal.
Watch This Title
on CathayPlay by clicking on the image below
A successful Singapore-based architect, Wen Xin, is forced to return to his hometown, a small city he has not seen in years, to bury his mother’s ashes. Upon his return, he finds the old neighborhood facing a decision between preservation and demolition. Li Mei, his childhood crush who is now living with a man with a gambling problem, among other things, is running a small diner in the area, and the two soon start interacting again, as old feelings resurface. She also tells him that her inability to have children is connected to the “Ninety-Nine and a Half Rooms” hotel, a landmark of the area. An elderly neighbor also claims that his mother’s death is related to the same hotel. These revelations stir deep emotions in Wen Xin.
At the same time, a childhood friend is involved with a project of redevelopment of the old neighborhood, and asks Wen Xin to become an advisor in the program, giving him an opportunity to protect the ancient streets and preserve the nostalgic memories of the past. His connection with Li Mei instigate him to advocate an approach that retains the feel of the ancient quarter, right down to the type of brick used in rehabilitating its buildings. At the same time, the logistics of his plan also entail the demolition of the aforementioned hotel, something that essentially contrasts the overall approach of preservation. Lastly, things become more complicated as Wenxin’s tense relationship with his father becomes an issue once more.
Check also this video
Ding Wenjian directs a rather layered movie whose narrative unfolds through a number of axes. There is a rather obvious one concerning Wenxin and his relationship with Li Mei, with the clash between their past feelings and their current lives weighing heavily on both. At the same time, and to some extent at least, Wenxin’s suggestions towards the renovation of the area is shaped by how his relationship with Li Mei progresses, in an approach that sometimes makes him appear truly virtuous, sometimes truly petty. The same actually applies to his relationship with his father, which is obviously strained, although the way the two men conduct themselves, with the older one essentially ‘begging’ his son and the latter acting some sort of diva, definitely does not work in favour of the protagonist.
Apart from the characters, Ding Wenjian also focuses on the whole concept of urban development and its implications, with the way people and essentially customs and ways of life are uprooted in the face of progress and profit being one of the main arcs of the narrative. The concept of at least partial preservations and the logistics involved in this approach are explored thoroughly, with documentary-like precision, highlighting the experience the director has on the field. At the same time, the decisions made by the people in charge of the project do seem somewhat romanticized, with the same applying to Wen Xin’s impact on the whole thing.
Where the movie truly thrives, however, is in its cinematography. The combination of the director’s (architect’s if you prefer) perspective and the impressive framing of DP Shan He results in a plethora of scenes that are truly a wonder to look at. Particularly the way windows, roofs, doors, and even the angles of the narrow streets are implemented in the framing emerges as truly ingenious. At the same time, it also has contextual value, particularly through the voyeuristic aspect that shows how various people learn about what is going on with their neighbors.
Hsiao Ju-kuan and Yin Chengyang’s editing results in a slow pace that suits the overall aesthetics of the movie, while allowing for the various arcs to unfold without rushing. On the other hand, some of the folk singing moments, which cross more intently to documentary territory, could be briefer or even missing, since they seem disconnected from the rest of the narrative.
Han Li as Wen Xin almost constantly wears a sorrowful expression with no evident emotion, but still manages to convey his character’s status, even through this laconic approach. Wu Ke-xi as Li Mei on the other hand is much more obvious in her presentation, with the antithesis of the two working particularly well for the film. The Wong Kar-wai-like scene in the shadows between the two is where their chemistry finds its apogee.
Some minor issues here and there do exist in “Brick”, but as a whole, the movie is excellent, with its visuals and multileveled narrative paving the way.
