it is slowly paced and could have been tightened up a little bit. However, the point is the characters' lives moving from mild, meaningless engagement to their isolation and loneliness. Not a happy movie.

O que resta a essas personagens, e talvez a nós cidadãos do mundo globalizado, é tocar da melhor maneira possível o seu caminho irresoluto e limitado, cujo maior regozijo é o escape ilusório proporcionado pelas imagens do kitsh da globalização. Leia mais: http://cinema-mon-amour31.webnode.com/news/o-mundo-shijie-de-zhang-ke-jia-china-2004-/

Review In A Nutshell: I just couldn't connect with the characters or the problems they are going through. The film also is paced slowly, which I wouldn't have minded if its content delivered something care-worthy. Though I was pleased with the natural performances from the cast and the film's musical score was memorable. This is a film I certainly need to watch at least once more as I am aware that it has something important or worthy to offer.

Review In A Nutshell: I just couldn't connect with the characters or the problems they are going through. The film also is paced slowly, which I wouldn't have minded if its content delivered something care-worthy. Though I was pleased with the natural performances from the cast and the film's musical score was memorable. This is a film I certainly need to watch at least once more as I am aware that it has something important or worthy to offer.

Friendship and romance backstage at the Beijing theme park THE WORLD. There's some good stuff here but it has difficulty emerging from the rather monotone presentation. The opening scene and protagonist Tao 's friendship with a Russian performer are the highlights.

a slow-paced sort-of-early- masterpiece by a really great director. a truly minimalist masterwork! looking forward to A TOUCH OF SIN!

La forma en que está construida es bastante particular, sentí que no me llevaba para ningún lado, que no avanzaba, pero al fina es evidente que ese es el propósito. He estudiado chinese por algunos años (con un progreso bastante insatisfactorio) y nunca había estado en contacto con una representación tan cruda de la realidad de los chinos. Según la película, un país con una fachada preciosa, que se mantiene a costa de la miseria de muchos.

I know the stereotype of the Chinese being able to clone everything, but this is ridiculous.

All Over The Map And Unnecessarily Long. The Lead Female Is Very Unsympathetic Throughout And It Makes It Hard To Care For Anything She Does, Especially With Her Relationships With Men.

Neoliberal, globalizing capitalism has alienated, commodified, corrupted, prostituted, devastated (formerly/nominally communist) China (along with the rest of the world).

Very interesting and surprising

It feels slow and long, but I can't really think of a scene that doesn't add to the movie as a whole.

Jia Zhangke's tale of an ensemble of characters working at a theme park in Beijing (supposedly meant to capture the entire world within its walls) is rife with symbolism and cultural significance, but it works best as a beautiful and arresting drama. Definitely one of the best films to come out of China in the past 10 years by one of the best rising directors.

Jia Zhangke's masterpiece. The originality throughout had me engrossed and the film was impossible to predict. There is so much life intertwined in this picture. From backstage Artisan life, absurd re-creations of landmark monuments, heartbreaking moments of characters trying to connect, to startling animated sequences that lend the film an "anything is possible" allure. I couldn't take my eyes off this relevant and humanistic piece of cinema - true poetry.

Varias historias de amor, con sus respectivas infidelidades. Las cosas pasan así nada más, como porque sí. ¿ Qué onda con las rusas? ¿ De qué sirvió su presencia?. Lo más atractivo son las imágenes del show, que parecen una especie de Fashon 온라인카지노추천 exótico

This look at the daily struggle of young people drawn to Beijing to improve their lot reveals a great deal of dreariness and some hardship and exploitation, all taking place at a theme park focused on great wonders of the world. My first Jia film suggests that he has a superb eye for color imagery (and brief animations), although character development seemed to take a back seat.

Jia Zhangke's composition is really something to see: long takes with fluid movement, a palette that goes from earthy to neon, theatrical blocking among the bizarre simulacra of the world within The World. And given the Chinese government's limits on freedom of expression, the director can be forgiven for failing to give his story or characters any real bite. Which is a pity, for this could've been a worthwhile critical examination of the New Economy in China, and the toll it takes on the relocated workers upon which it is being built. But, unfortunately, The World is meh, with a sappy soap opera storyline, embarrassingly bad flash animations every time a character uses a cell phone, and a godawful saccharine score.

One of the most intreaguing movies to come out of the east. its not as romantic as my sassy girl, nor as over the top as kung fu hustle. instead it's merit is it's medeocrity. some people say its too long and not deep enough. that's the point; its not meant to be deep, or thought provoking, but a display of the banality inherent in urban life, especially in the outskirts of beijing and similar cities.

About this film, the director Zhang-Ke Jia says: "A day is longer than a year, and the world is a border area." These words explains the film in the best way. The couple, a man and a woman who are from rural areas in China, is living in the center of the world, but being stuck there and struggling for a better life. In every aspect, this film is very well-done social criteria on modern Beijing and people there, although I feel the story is little bit weaker and more common than other works by Jia.

Given what we've come to expect from Mr. overly-long-and-lacking-in-narrative, this was surprisingly plot-driven and at times quite touching. I couldn't help but want to compare with Michael Moore's new film: both criticize capitalism.