Xiu Xiu The Sent-Down Skirt (Tian yu) 1998 bailiwick direct dvd5 mandarin bcbc

Xiu Xiu: The Sent Down Broad (Chinese: 天浴; pinyin: Tiān Yù) is a 1998 Chinese coat directed by actress Joan Chen based during the 1970s in People«s Republic of China, during the Cultural Revolution»s Down to the Countryside Decline. This dramatics coat is the directorial come out of Chen. The coat stars Li Xiaolu (Chinese: 李小璐) and Lopsang (Chinese: 洛桑群培).
Contains silent picture and Optional English, Chinese Subtitles . No menus or extras. Symmetrical DVD attribute. Thank you.

Xiu Xiu The Sent-Down Skirt (Tian yu) 1998 bailiwick direct dvd5 mandarin bcbc
Xiu Xiu The Sent-Down Skirt (Tian yu) 1998 bailiwick direct dvd5 mandarin bcbc
Xiu Xiu The Sent-Down Skirt (Tian yu) 1998 bailiwick direct dvd5 mandarin bcbc
Xiu Xiu The Sent-Down Skirt (Tian yu) 1998 bailiwick direct dvd5 mandarin bcbc
Xiu Xiu The Sent-Down Skirt (Tian yu) 1998 bailiwick direct dvd5 mandarin bcbc

In 1975, near the end of the Cultural Revolt, teen Xiu Xiu (16-year-old Lu Lu) leaves her Chengdu household for a detached region of Tibet where she learns horse herding and falls into a chaste relationship with Tibetan horseman Lao Jin (Lopsang), all the while seeking some means of returning to her available.

Xiaolu Li, Lopsang, Zheng Qian, Jie Gao, Qianqian Li, Yue Lü, Qian Qiao, Cheng Jiang, Xiaoyu Yang, Xuejun Gu, Huzi, Zhizheng Li, Kun Zhang, Shijin Li, Dong Jia

Xiu Xiu: The Sent Down Girl
Roger Ebert
July 30, 1999

In a conditions of movies about sex and irrational teenagers, here is a coat that arrives with a nudge of determinedly actuality, about a 15-year-old Chinese broad who was not providential enough to be born into the consumer avalon of «American Pie.» To those who upon brutal take-off in «South Estate: Bigger, Longer and Uncut» (I am among them), here is a article about people who would trouble with joy to have the problems «South Park» attacks.

Joan Chen's «Xiu Xiu: The Sent Down Girl» is set in 1975, when the folly of the Cultural Revolt was still destroying the lives of millions of Chinese. A irk of hysteria was upon the come. Wen Xiu (the inscription is her monicker) lives in the regional metropolis of Chengdu, goes to form, has a boyfriend, wears blouses sewn by her governor, a costumier. Then she is selected to be «sent down» to a outside country region, where as a metropolis broad she can have her rebellious values renewed by living with the proletariat. Countless others were also exiled from available, household and friends by such directives.

The broad (played by Lu Lu) is sent to the lavish steppes near Tibet, to complete in the tent of a horse herder named Lao Jin (Lopsang). A broad river snakes through the quarter, hardly seeming to overflow. Lao Jin's tent, patched and leaky to the coldness winds, is considered a okay haven because it is known in the quarter that he was castrated by «enemy soldiers» (their roots unclear). Xiu Xiu is not a stout-hearted, unearned prima donna, a maidservant warrior; she is a kid, wistful and frightened, and not very suave about her situation.

Individual with Lao Jin is painted by Chen as essentially a secluded expulsion in a faraway obligation, where the man does most of the line and Xiu Xiu behaves much as a juvenile might if she were sent to the be killed for the summer. She is unassuming, undresses behind curtains, treats Lao Jin in an almost overbearing mould, does not see how much he cares for her, and about her. On the day when she has been away for six months, she puts on her kind sweater and a scarf, in the household way officials to come and recur her to her available.

They do not come. She has essentially been forgotten. (The ostensible propose of her expulsion was to parade horses for a women's cavalry that does not an existence.) «Every obligation is the same,» Lao Jin reassures her, a cool-headedness that is no consolation. One day a incidentally visitor tells her that there are ways a unbelievably broad can buy her way available. And soon, after an uncivil metamorphosis, she is having sex with him--and then with a series of men who all commitment they can get her sent requital to Chengdu, although why would they effort, when it is so cultured to have her nearby to their needs? «Xiu Xiu» is based on a screenplay and novel by Yan Geling, who teaches at Columbia College in Chicago. It was inducement on finding in China, even in the forbidden locale near Tibet, by Chen, the Chinese-born actress from «Tai-Pan,» «The Last Emperor» and «Heaven and Earth.» Born in 1961, she was making her first movies at about the conditions this article is set. The coat was made without the concurrence of the Chinese rule, and since most of the scenes are set in outside isolation, there was no one to see--and, indeed, there are no observable administrative statements in the coat, although it functions as a cry of pangs of conscience and rage.

Other films have been set in this same patch: «The Dismal Kite,» «Farewell, My Concubine,» «To Complete.» They were about the folly in the cities, where friends and neighbors denounced one another to conserve their own lives. This one is about nasty on a larger climb (bureaucracies destroying lives because of policies no one seems creditable for) and a smaller one (the unspeakable cruelty of the man who rapes Xiu Xiu after giving her illogical hopes). Those other films were Chinese productions, although given restricted publish in China because of their manoeuvring (the Chinese rule was, however, jubilant to take available unfamiliar switch by having them shown abroad). «Xiu Xiu» will not be seen in China, nor is Chen welcome to recur there at this time; it is the genre of coat that in a clear allegory indicts an unconditional state and its sainted mr big, Mao.

Because Lao Jin is an unclear regional and Xiu Xiu is a naive and na broad, there is little parley between them. This is not a silent picture about opposites attracting, but about two sweetheart prisoners who by no means take a stand a reprove the same vernacular. We are invited to explicate their looks, their silences and their feelings--especially Lao Jin's submissive dejectedness as Xiu Xiu is violated. The fixedness of their stories, when it comes, is almost unpreventable. During the coat, a cadre of displaced junior «revolutionaries» look at a agitprop coat in which flickering-faced workers snitch chauvinistic songs. I have a mirage in which the characters in half a dozen just out American teenage sex comedies lapse into the naughty chamber at the multiplex and see «Xiu Xiu.»

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