One Second

I was lucky enough to see Zhang Yimou's "One Second" at the Toronto International Film Festival. Now, I'm not well versed in Chinese cinema, so I really didn't know what to expect in terms of the common genres, the narrative style, the pacing, etc.

All I can say is, I was very pleasantly surprised. The film is basically a road trip movie about two protagonists who really don't want anything to do with each other, but go through a journey that ultimately, yet ever so gradually, transforms their relationship. The plot was well-written with plausible events and very witty use of dramatic irony. In fact, this charmingly facetious tone is established early on in the movie eliciting chuckles from the audience all the way to the end.

On the topic of character development, what stood out for me was the balanced attention to both the male and female leads. At no point in the movie did I feel that one character was merely supporting the other. While it is not so rare for films to have more than one main character, I particularly enjoyed the coexistence of a male and female character in the lead roles.

I am very accustomed to seeing movies that praise individualism, the American Dream and the Nietzschean Will to Power, I had yet to see a decent film that championed communist ideals (I'm sure there must be quite a few out there - please pardon my lack of exposure and experience). This movie is centered around a propaganda piece and provides a "real-life" example of events that illustrate the ideals of camaraderie, solidarity and sympathy for the fellow man. Two characters who at first only care for their own "individual" and "selfish" well being, find themselves putting each other's best interest ahead of their own. And trust me, this is not done in a superficial, pedantic way that'll make your eyes roll (as it sometimes does in such films). In a sense, the film about a propaganda film IS an effective "propaganda" piece in and of itself.

It's hard to judge acting in a language/culture that is not too familiar. This is because any slight exaggeration or downplay of emotion may be a feature of the target culture and not "bad acting". Having said that, I found the acting in this movie realistic and believable. Organic comedy/drama bubbling out of the very carefully crafted scenarios and situations.

I thoroughly enjoyed watching this movie and look forward to exploring Zhang Yimou's other features.

Very rare type of story that you don't normally see. It's unique because it has a simple and genuine storyline but beautifully executed and got carried away till the end. Highly recommended!!

Zhang Yimou, in general, is the director of the epical drammas. But all the while he manages to tell little stories with a certain cynicism and black humor. One second is one of these films that tells us a very cheerful story with touching tones of hearthwarming. The film is a kind of Chinese "Cinema Paradiso", which is full of love for cinema and for this seventh art. But Yimou not only speaks of love for cinema but also of a friendship and solidarity between a prisoner who has escaped from a concentration camp and a child that their friendship is in fact based on the roots about the interests of cinema. Despite all this good intention that the director wants to put forward, unfortunately the film is unable to end this brilliant idea with a decent final blow and leaves the spectator with a dry mouth disappointing and perplexed without giving the coup de grace that otherwise would have been a sensational ending. .

Whist in search of a lost film roll of utmost importance, One Second takes us on a delightful trip through the desert. The plot reminds strongly of Cinema Paradiso and doesn't add anything innovative to the mix. But it holds enough clever twists and turns to engage the audience.

The movie suffers from some minor flaws but can hide them behind the beautiful cinematography. Meanwhile, its feel-good quality prevents it from living up to the subtlety and nuance of Yimuo's earlier work. And rather than a celebration of film, it almost feels as if they are actually celebrating propaganda. Furthermore, the main character keeps making funny decisions - often of staying silent - which puts him in increasingly dire trouble.

Yet, the performances are firm, the imagery is occasionally exceptional, and Yimou's direction is refined. It's better than most movies these days, but the story itself fails to reach higher ground.

Anyone unfamiliar with the larger career arc of Yimou Zhang can be excused for underestimating this heartfelt film. If it is not a masterpiece, then it is at least a worthy example from a master. It is, of course, a takeoff on Cinema Paradiso (1988). I infer that this film is vastly truer to Cultural Revolution China than that one was to early post-WWII Italy. I think it rings true. I hope that someone who was there "in the day" will comment.