Even in death, Chinese citizens remain victims of the Cultural Revolution. Since those dark days, burial has been illegal in the PRC, banned due to its religious connotations. As a result, entire generations have been consigned to an eternal fate as disquiet ghosts, at least according to traditional beliefs. The tragic connection between intrusive government funerary policy and a young migrant worker will be revealed in Fabianny Deschamps experimental hybrid New Territories, which screens during the 2014 Montreal World Film Festival.
Hong Kong’s New Territories represent the Promised Land for Li Yu. It is there she is to meet her fiancée, after the human traffickers smuggle them across the border. However, her fate will somehow become entangled with Eve, a French sales executive pitching alkaline hydrolysis to the Chinese authorities as a carbon neutral alternative to cremation. She had traveled to Li’s home province, because of its high rate of compliance with the government’s cremation mandate. Understandably, she chose to seal the deal in Hong Kong, where she can celebrate in style once the business is done.
The audience does not see much of Li, for reasons that will eventually be revealed. However, she is omnipresent as the film’s narrator. Eschewing conventional dialogue and narrative forms, Territories is somewhat akin to João Pedro Rodrigues & João Rui Guerra da Mata’s The Last Time I Saw Macao, except the execution is far superior. In all honesty, this might be the most emotionally resonant pseudo-experimental film you will see in a month of non-narrative Sundays.
Of course, there is very definitely a story underpinning Territories, which even takes on genre dimensions. Though rarely seen, Yilin Yang’s voiceovers as Li are absolutely devastating. Eve Bitoun deliberately portrays her namesake as something of a cipher, but her descent into spiritual oblivion is quite compelling (while her Fifty Shades scene is unnecessarily off-putting). Deschamps also gives viewers a unique perspective on time-honored practices, such as the burning of spirit money.
It is difficult to identify the right audience for New Territories, because it demands receptiveness to avant-garde forms, yet is still deeply rooted in the social and historical iniquities of Communist China. Although it is largely set in HK’s financial district and takes its name from the peninsular region, the guts of the film concern realties on the Mainland. Cinematographer Tomasso Fiorilli perfectly lenses HK, in all its alluring menace. It is a very thoughtful, artful film, highly recommended for the adventurous (and sufficiently prepared), when it screens this Friday (8/22), Saturday (8/23), and Sunday (8/24) as part of this year’s MWFF.
Joe Bendel - LIBERTAS FILM MAGAZINE - 19/08/14