A Touch of Sin

A Touch of Sin blu

Welcome back to This Week In Discs! If you see something you like, click on the title to buy it from Amazon. A Touch of Sin Four stories of everyday people caught up in the maelstrom that is modern day China. Violence infects their lives, sometimes as victims, sometimes as perpetrators, and none of them will ever be the same again. Zhangke Jia‘s film made my list of 2013’s best foreign language films, and it marks a rare instance where Landon Palmer and I agreed on that assessment. In his own ‘best of’ list he wrote, “A work of national cinema meant primarily for an audience outside of its home nation, A Touch of Sin is a disturbing mosaic of contemporary global China, depicting the excesses and injustices of a country growing through an unprecedented combination of organized labor and capitalist exploitation. A potent combination of genre play and political commentary, Zhangke Jia’s episodic film is as much a masterwork of a tightly controlled, discomfiting tonal range as it is a revealing micro-examination of uniquely 21st-century forms of economic injustice. I believe we’ll be talking about this molotov cocktail of a film for years to come.” [Blu-ray/DVD extras: None]


foreign the hunt

Cinema is a worldwide artform, and as such many of the year’s best and most exciting films often come from overseas. Quality is no guarantee of visibility though as subtitled films rarely get a wide reception in American theaters, and worse, many don’t even make it to our shores until a year or more after opening in their own country. That’s the kind of factor that makes ranking foreign language films a difficult and inconsistent process. I try and go by actual year of release when possible, but for obvious reasons I’m not adverse to including entries that made their U.S. debut this year, too. But these are details… let’s get to the movies! Genre films rarely make “best of” lists like this , but I make no apologies for their inclusion here. Best is best, and if my best happens to include a character named The Queen of Saliva so be it..


inside llewyn davis 04

Three-hour lesbian drama Blue is the Warmest Color was announced the winner of the prestigious Palme d’Or at the 2013 Cannes Film Festival, a choice that many foresaw as likely but not a sure thing. The jury that awarded the honor was led by Steven Spielberg and also included Nicole Kidman, Ang Lee, Christoph Waltz and Lynne Ramsay. For the second place Grand Prix winner, they picked the latest from the Coen Brothers, Inside Llewyn Davis, while for Jury Prize (considered the third biggest deal) they chose Hirokazu Kore-eda‘s Like Father, Like Son. Like Father, Like Son was also recipient of an honorable mention from the Christian-based Ecumenical Jury, whose top prize went to The Past — the star of which, Bérénice Bejo, was named Best Actress by the main Cannes jury. Blue is the Warmest Color also earned multiple honors from the fest, taking the critic choice FIPRESCI Award for the In Competition category. The biggest surprise of today’s announcement seems to be Spielberg and Co.’s naming of Bruce Dern as Best Actor for the new film from Alexander Payne, Nebraska. After the jump, you can find a full list of main jury winners (from the festival website) and other honorees announced over the weekend accompanied by links to our review of the film where available.


review touch of sin

Chinese auteur Jia Zhang-ke delivers the first verifiable dud of the Cannes Film Festival’s In Competition banner this year with A Touch of Sin, a four-part tableau examining the rife inequality cutting throughout the country’s society and how it so frequently bursts into violence. Despite the occasional moment of visceral outlandishness, this is largely an airy, low energy slog that likely sees low odds at scooping the esteemed Palme d’Or. The four stories range from a beleaguered drifter meting out bloody revenge within his small mining town to a migrant worker who similarly discovers the liberating qualities of firearms, a cute receptionist pushed over the edge by her male clients and finally a young factory worker trying to improve his situation. The linking motif is, ostensibly, the violent resolutions that befall either the central characters of each segment or are enacted by them, a statement on the fraught status of China’s social infrastructure.

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published: 01.28.2015
published: 01.28.2015
published: 01.28.2015
published: 01.27.2015

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