Did you people see the same film I saw?

I think this is a new genre that they're all sort of working their way through it and haven't got all the kinks worked out yet but it's a genre that works for me.

The film's masterful storytelling did its job. The message was clear. No need to overdo.

It really made me laugh, but for some moments I was tearing up because I could relate so much.

In short, a great and interesting movie. At the same time very, very sad. The story of the tragic fate of a girl called Xiu Xiu. Sent to the wildness away from her home, a young and naive, she soon realizes that her only true friend is Lao Jin. Rigid communist regime that destroyed every human spirit, thus her promising life. On the other hand, this movie contains beautiful images of nature, water, sky, horses, flowers and beautiful emotional music. What characterizes this movie is definitely a unique blend of music, images and emotional state in which the characters are. If you want to see a serious story, then the Tian Yu movie is just for you.

It is,in a certain way, almost strange to write something about this movie, now, so long after I have really admired it, so long after I have so intensely cherished it.XIU—XIU might be described as a small—scale romantic—naturalistic synthesis. It has gusto, flair and pace. It has suavity, and visions of hell. It is very coherent, limpid and well—constructed. The directorial approach is sober and incisive.It is deliberately heartbreaking and shocking and sensationally lyrical, of extreme emotional density ,a remarkable experience of art, of rich emotions; and, although not decadent in itself, it strongly appeals to decadent sensibilities and receptivity. (I thought it was good in a Rozanov/Bloy/ Nietzsche way, as I was able then to define the sphere of perception.) It treated highly, in a dignified perspective ,of humble things, elemental feelings and atrocious events. It played like the sum-ma of a certain art.Mainly on its base, I have formulated, or rather improvised, a quite decadent theory, the idea of the cruel, savage movie. By this, I meant a kind of lyrical and inspired naturalism, shocking and thrilling, the kind that might be seen in XIU—XIU, in the R. Harris masterpiece This Sporting Life (1963) and in some scenes of A Streetcar Named Desire (1951) .The film has strength and several merits. It is of an explicit beauty. It is a synthesis—a vision of art, a synthetic take. It has a vision of the human life, society, violence, evil, pain. It has a contemplative, quite and slow side. It is beautifully conceived and acted. Its sadness is visceral and piercing. For a time, I thought it better than anything else. During my XIU—XIU era, when I resolutely campaigned for it among my pals, I also liked ED WOOD.On the viewer's part, XIU—XIU might define an inclination towards finding beauty in its most compact and intense expressions. An aptitude for finding it. XIU—XIU is also an admirably crafted drama, that adds competence to the inspiration' s high aim.

This is by favorite foreign subtitled movie. There are hints of Tarantino in this flick, especially in the ending. This film depicts life in China as a young girl. I especially like the part with the apples. If you can stand reading the dialog , then this is an excellent film. The characters are likable and real. Highly recommended.

The biggest contribution of this movie is it uncovered a stupid aspect under the enthusiasm of the Cultural Revolution. While her parents feel torn inside, the girl, Xiu Xiu, says, "Everyone goes, and I go". Were those "elite students" reported in the world news such childish girls in 14 or 15?How miserable the latter half of the movie is! Lao Jin, Xiu Xiu's neutered mentor, loves her but she can not understand it. Only if Joan Chen meant to show the true love a middle-aged neutered man has for immature woman, she was successful. But I wonder if a tenured man, who lost male hormone, can be that manly and tough.