Gui lai

In China, in the early 70s, Lu Yanshi (Daoming Chen), a political prisoner, is released at the end of the Cultural Revolution. When he returns home, he discovers that his wife Feng Wanyu (Gong Li) is suffering from amnesia: she waits every day for the return of her husband, without understanding that he is at her side.

I loved the infinite tenderness that emerges from this film. The rhythm of the film is intentionally slow and we feel a real chemistry between the three main actors (father, mother and daughter). The director Yimou Zhang immerses us in a beautiful love story with the poignant beauty and intense presence of the actress Gong Li, with the extraordinary talent of the actor Daoming Chen who plays soberly in the shadow of his wife, with a neat, delicate and graceful photography.

As a synthesis: behind a slight facade of political pamphlet, a delightful ode of lyricism. 8/9 of 10

Zhang yimou done it again. And Gong Li is more than ever - one of her best roles...i'm always hoping that she does more movies. And when Yimou and Gong Li work together it always comes an amazing movie. I wish they could go on professionaly together."Coming Home": It is a simple story, yet with powerful meanings. Everything is beautiful: the performances, the direction, the photography, the music... And that piano scene... Achingly. Every yimou's movies has such sensibility. He really knows how to touch.

Thank you Gong Li and Zhang Yimou.

An applause too for the male actor and the girl who played the daughter - hope she will get a great career.

Some of the dialog at the very beginning not quite correct and right during the Chinese Culture Revolution. The Chinese people in that darkest ten years torment, many jargon would not be said like what we heard in this movie. If the protagonist is a "Spy" as his daughter called him, he would already have been shot instead of banished to a far away poor farm as a labor. Such labors at that time were tagged as "Anti-Revolutionist" , "The Left Extremist", "Stinking Old Nine" or "The 5th Black Category Member". There were many carelessly written labeling names or words that didn't comply with that atrocious era. I was just amazed how the billion Chinese would let go of such torturous and treacherous when the Culture Revolution lost its goal and suddenly ended after 10 years living hell. Most Chinese are not like the Jewish people who had suffered so much that they would never let it go and so easily forget what their ancestors suffered. But the Chinese people are such weird species with extremely short memory. When every absurd but cruel movement ended, what they had experienced was just like the old Western saying: "Water under The Bridge", they just took it for granted and awaiting the next movement coming up to torture them. This is also explained why the CCP regime still exists so far, and again, the Chinese people are suffering the prison-like deadly control during a lightweight Omicron virus crisis. They are whining, crying and complaining, but I guess when the CCP decides to end the siege, they would immediately forget what they once suffered, just like what their parents and grandparents had suffered during the Cultural Revolution. Living under the iron fist of the CCP, Short Memory, Letting Go and Moving On maybe are all must-have for the 1.4 billion Chinese subjects?

"Coming Home" (2014 release from China; 110 min.) brings the story of Lu, a "rightist bastard" during the Cultural Revolution. As the movie opens, we see a woman (Feng) and her daughter (Dandan) being called into the Propaganda Office of the girl's school, where they learn that Lu (the husband and father, respectively) has escaped from labor camp, and that they are not to see him. Feng and Lu nevertheless decide to meet up at the train station, where Lu gets captured again. We are then told "Three years later, the Cultural Revolution ends", and Lu arrives back home. Much to his shock, Feng does not recognize him. What caused Feng's amnesia? Will she ultimately recognize him? To tell you more would spoil your viewing experience, you'll just have to see for yourself how it all plays out.

Couple of comments: this is the latest movie from director Zhang Yimou (best known here for "House of the Flying Daggers"), Here he tackles a potentially sensitive topic in China, namely the horrible Cultural Revolution. But don't think that this is a political movie. Instead, it is a love story that happens to be set during and after the Cultural Revolution. Feng is played by the leading Chinese actress Gong Li (think of her as the Meryl Streep of China), and plays the role with restraint and visible hurt. Special mention also for the beautiful Zhang Huiwen in the role of Dandan (check out the ballet performances!). Last but not least, I couldn't help but notice that the piano you hear in the orchestral score is played by none other than Lang Lang. Bottom line: "Coming Home" is a slow-moving (in the best possible way) movie that examines the long shadows of the Cultural Revolution through the eyes of one particular couple.

This movie is now a year and a half, yet it recently showed up out of the blue at my local art-house theater here in Cincinnati. Better late than never I suppose. The weekday evening screening where I saw this at was attended poorly. A shame. If you are in the mood for a top-notch quality foreign movie that is light years away from your standard Hollywood fare, you may want to give this a try. "Coming Home" is HIGHLY RECOMMENDED!

By 'simple pleasures', I don't mean that in any way to reference the Chinese Cultural Revolution, but his return to simple films, about simple people, beautifully crafted, acted, and very revealing about everyday Chinese life (as much as he is able).

Zhang Yimou (Chinese names put the surname first, IMDb doesn't, alas) is arguably one of the best directors of the 20th and early 21st centuries (best known in the West for House of Flying Daggers). He always evokes a magical feeling in me, and I love his technique and precision; almost every frame is a painting. He chose to remain in mainland China and has walked a very thin tightrope in making the kinds of films he has, as he does not shy away from the political situation in China, at least as part of everyday people's lives, which it is, of course. His films are just not primarily about Chinese politics (although his simple, but great early film, The Story of Qiu Ju, is about Chinese bureaucracy, and was indeed banned for a time. The fact that Gong Li, in this film, screams to the prison officials that have come to capture her husband, "What did you do to him to make him want to escape?", turning the blame for his prison escape back onto them, illustrates what their intl fame allows them to get away with.

Gong Li, Zhang Yimou's ex-wife, is, I believe, the premiere female actress in China (and now known worldwide, since the wonderful film, Raise the Red Lantern, was nominated for an Oscar in 1990), with good reason, and an actress of incredible breadth and depth. Even though she has been on many 'most beautiful people' lists, (she is very made up here (or down!)), her craft is everything and I cannot watch her enough. She is lately known here for Memoirs of a Geisha, as the evil Hatsumomo.

I was very, very glad to see Zhang Yimou and Gong Li reunite, professionally, for 2 recent films. They seem to push each other upward and she makes a perfect muse for him.

Ah, the film...(I love telling people about them!). Coming Home is about a couple dealing with and trying to reunite after Gong Li's husband is imprisoned for a couple of decades during the Cultural Revolution in China. She grows progressively ill, which adds to their difficulties, thus the meat of the movie is about their reuniting difficulties. Definitely without a stock Hollywood ending! I was struck by one very incredible scene... It is just a walk across the kitchen by Gong Li, when her husband is knocking at her door. She has been warned severely by the police. This walk seems to take several hours as she haltingly walks across the floor, with all the ramifications, both political and personal, flashing across her face and obviously in her mind. It is one of the most astonishing 20 seconds of film I think I have ever seen, and done without dialog, melodrama or Hollywood artifice.

Zhang Yimou has crafted a fine film here. It is slow, but in a good way, which builds a lot of emotional suspense. Someone said it only covers the last 20-30 pages of the book upon which it is based. As usual, every aspect of the film is top notch and it walks on the edge of the dramatic sword in a perfectly balanced manner. It will go down as another of my favorite Zhang Yimou movies. Be patient, although the tension he creates will keep you pinned, if not a bit frustrated, but that is also the beauty of it, and enjoy! And check out some of his other films!