Congcong Nanian (Back in Time)

Hard luck high school communist romance takes centre stage in Yibai Zhang's Congcong Nanian (Back in Time), five friends, hormonal hearts throbbing, social revelations pressurizing, a tender look back at innocent desires, the magnification of seemingly insignificant events not so insignificant in terms of personal depth and growth, their affects shockingly uplifting and bewilderingly entertained, courage forging a psychological frame of reference within the young psyches, its creation confusing in its definition and covetous of supplementary material, subsequent dreamlike narratives searching for these definitive moments, their emotional mechanics insulating the eternal in a resounding depiction of bliss, youthfully sustained, through the passing of the years.

I think the trick is not to think, "oh, it was so much better back then," but to think, "that was amazing, what I'm doing now is alright too, and the future looks good as well."

The friends have to learn to cope with unfortunate disruptions in their unpredictable routines as they leave high school to pursue different goals, and the world opens up with unforeseen temptations.

The film's a fun exploration of relationships and love, maddeningly elevating foundational convivialities, naivety descending into revenge and horror, with a celebration of the good old days, and redemption in the end.

I kept wondering about restrictions on filmmaking in China while watching as government propaganda repeatedly and hilariously popped-up throughout.

There are a bunch of great communal shots, visually emphasizing the benefits of teamwork.

But I was wondering if government film making restrictions were too harsh to nurture the development of a young Chinese Jean-Luc Godard, which would be a shame, considering how much Godard has done for France.

Basketball has the green light.

I have faith that these restrictions may loosen up a bit, as the middle class continues to prosper, because after I had these thoughts, characters from the film wound up in Paris, a good sign for me anyways, and perhaps, for the future of Chinese filmmaking.

I did like Congcong Nanian, I'm just thinking, there are 1.? billion people in China, and the economy is rapidly expanding, the potential for previously unconsidered revolutionary developments in filmmaking are limitless, especially if the censors become hip to alternative forms of expression.

Not simply who can make the most explosive violent films.

But who can make the most thought provoking intellectually accessible poetic reflections on issues of universal humanistic resiliencies, poignant in their multilayered insights, developing an exceptional Chinese filmic frame of reference, to grow and develop over time.

Perhaps it's already there, I don't see many films from China.

If it's not, trying studying what they've done in Québec.

They are making it working here.