Interview: 'A Touch of Sin' Director Jia Zhangke A Touch of Sin, from director Jia Zhangke, is a tangle of four violent vignettes — all based on true stories — that made it past China's famously strict censors with hardly any cuts. It gets its U.S. premiere this weekend at the New York Film Festival.

A Brutal Movie From China, Ripped From The Headlines

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A remarkable new movie from China has its American premiere this Saturday at the New York Film Festival. It's called "A Touch Of Sin." It's a sweeping indictment of Chinese society and, surprisingly, the movie made it past China's notorious censors with hardly any cuts. It's expected to open in mainland China cinemas in November. NPR's Shanghai correspondent, Frank Langfitt, spoke to the film's director.

FRANK LANGFITT, BYLINE: If you want to see modern Chinese life at its darkest, consider "A Touch of Sin" when it comes to U.S. theaters next month. The film is a series of loosely knit vignettes that revolve around themes of violence, greed, sex, power and crime. There's nothing subtle about the imagery. In this scene, a corrupt businessman tries to force a receptionist at a massage parlor to have sex with him by beating her with wads of cash.


LANGFITT: Until she stabs him to death.


LANGFITT: And there's the young worker at a Foxconn factory who leaps from his dormitory roof in despair.


LANGFITT: The most violent story follows a coal mine employee who goes on a righteous rampage, killing a government official and a rich mine owner who've swindled local villagers. The employee, named Da Hai, which means Big Ocean in Mandarin, hides in the mine owner's Maserati. The mine owner discovers him and tries to buy him off.


LANGFITT: How can we fix this, he says, just say. Big Ocean's answer...


LANGFITT: The next image is Big Ocean's blood-spattered face in the backseat, just like that famous scene in Quentin Tarantino's "Pulp Fiction." Director Jia Zhangke says he was inspired to write "A Touch of Sin," which won best screenplay at the Cannes this year, after reading so many news stories about violent conflict in Chinese society.

JIA ZHANGKE: (Through translator) These awful events are all because of rapid changes and the economic transformation, like when the movie discusses the serious corruption problem, the problem of small groups of people controlling resources, and the very big gap between rich and poor. It's against this backdrop that we see a lot of individuals erupt in violent rebellion.

LANGFITT: The movie's four vignettes are all based on true stories, giving the film a "Law & Order" ripped-from-the-headlines feel. Jia says the film's characters, and ordinary Chinese people themselves, are driven to violence by powerlessness and frustration.

ZHANGKE: (Through translator) Behind a lot of societal problems is a problem with fairness. When people feel there is a lot of unfairness and they have no way to change it, they choose violence and then we get more and more tragedies.

LANGFITT: "A Touch of Sin" is Jia's seventh feature. His first three were banned. But since 2004, he's worked within the government system, submitting his movies to a censorship board for approval. Jia, now 43, says censors requested surprisingly few cuts for this film.


LANGFITT: One involved a scene where the corrupt mine owner arrives in his private jet.


LANGFITT: Workers greet him with a band and mindless cheers.

ZHANGKE: (Through translator) I had originally planned to use an actual government slogan that goes, Get rich together, pursue a comfortable life. They suggested I cut it out. The story is about a huge wealth gap. People apparently didn't get rich together.

LANGFITT: In real life, Chinese didn't get rich either. A communist country in name only, China now has a bigger income gap than the U.S.

JUSTIN CHANG: I can't recall having seen a film in recent years coming out of China that was perhaps this direct and this blunt.

LANGFITT: Justin Chang is the senior film reviewer for Variety. He gave "A Touch of Sin" a mixed review. Chang found the vignettes uneven, the style pulpy. But he was really struck that it got past China's censors.

CHANG: I was expecting, wow, there's going to be some blowback from this, right? I mean, how could they allow something so naked and angry to be shown? And I don't know the answer to that.

LANGFITT: Director Jia thinks he does. He credits China's more aggressive news reporting and the power of Sina Weibo, the country's version of Twitter. Newspapers and social media publicized the true stories on which Jia based his plot, so Jia said, in a follow-up phone interview, the stories became so well-known, the government probably saw no point in censoring them.

ZHANGKE: (Through translator) Weibo created a space for this movie to be accepted. Because of Weibo, our understanding of the reality in Chinese society is very different from before, when there was more news censorship.

LANGFITT: Jia says that's how the Internet in China pushes the boundaries of free expression for creative people like him and better informs an audience that's more likely to be receptive to his films.

It's hard to imagine making such a movie five to 10 years ago, he says. People would think I was just seeking attention, and that stories like this were rare. Frank Langfitt, NPR News, Shanghai.

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