Still Life

Still Life

Still Life is director Jia Zhangke’s meditation on the effects—personal, societal, and environmental—that occur during the building of the magnificent Three Gorges Dam across the Yangtze River in central China. As the dam moves closer to completion, authorities hold back more and more water, meaning that low-lying communities close to the dam will soon be underwater. Therefore, the government has undertaken a massive “deconstruction” project in these communities, moving people out and tearing down old buildings and ancient neighborhoods.

The beautiful setting amidst a lush, green valley contrasts strongly with the piles of gray rubble scattered throughout the area. And this contrast in the physical world mirrors the contrasts taking place in the two stories Jia weaves together throughout the film: change and stasis, breaking down and putting back together, life and death.

These two stories, simple in their conception and careful in the way they reveal themselves, depict a man and a woman looking for their respective spouses. Neither couple has been together in years. The reasons for leaving remain unclear for most of the film, yet we know that each of these people wants nothing more than to find that spouse—for what, we can only presume.

That Jia allows these stories to develop slowly and makes close observation of their mostly fruitless searching imbues each character with a humanity that rings true. We know these people, or at least people like them—people with hopes and regrets, foibles and virtues. And as the events unfold, as the characters move ever closer to their respective goals, Jia records moments of such purity and poetry that the film strikes at the deepest chords of what it means to be human, summing up the film’s themes and ideas in images that bring contrasts together: out of rubble grows hope; out of death springs life.

—John Adair (for 2011 list)

  1. Directed by: Zhangke Jia
  2. Produced by:
  3. Written by: Zhangke Jia Na Guan Jiamin Sun
  4. Music by: Giong Lim
  5. Cinematography by: Nelson Lik-wai Yu
  6. Editing by: Jinlei Kong
  7. Release Date: 2006
  8. Running Time: 111
  9. Language: Mandarin

Arts & Faith Lists:

2010 Top 100 — #26

2011 Top 100 — #54

2020 Top 100 — #96

Similar Posts

  • Vertigo

    From the first Arts & Faith Top 100 list in 2004, voters have wrestled with and disputed the meaning of “Spiritually Significant.” When discussing what makes a film spiritually significant, seemingly the only constant has been that it means something other that craftsmanship or artistry. Sight & Sound’s critics’ survey of the Top 100 Films of all…

  • The Act of Killing

    — Review Coming Directed by: Joshua Oppenheimer Anonymous Christine Cynn Produced by: Anne Köhncke Signe Byrge Sørensen Michael Uwemedimo Written by: Music by: Cinematography by: Anonymous Carlos Arango de Montis Lars Skree Editing by: Release Date: 2012 Running Time: 117 Language: Indonesian, English Arts & Faith Lists: 2020 Top 100 — #73

  • Eureka

    Simon Kessler is a psychologist high up in the human resources department of the Paris branch of the German company chemical company SC Farb. Kessler’s boss gives him what must be an intimidating job, though he never shows any hesitation. He needs to investigate the company’s CEO, who has been acting irregularly, deteriorating quickly from…

  • Frisco Jenny

    Appreciation coming from Darren Hughes. Directed by: William A. Wellman Produced by: Written by: Wilson Mizner Robert Lord Gerald Beaumont Lillie Hayward John Francis Larkin Music by: Cinematography by: Sidney Hickox Editing by: James B. Morley Release Date: 1932 Running Time: 73 Language: English Arts & Faith Lists: 2020 Top 100 — #43

  • Nights of Cabiria

    Federico Fellini’s Nights of Cabiria (1957) transcends the well-worn cliche of the golden-hearted prostitute. The film stars Fellini’s wife and constant collaborator, Giuletta Masina, as a woman named Maria Ceccarelli but known to everyone in her social strata as Cabiria. Cabiria was pushed into prostitution by her destitute mother when she was young and beautiful, and her…

  • 4 Months, 3 Weeks, and 2 Days

    In a key scene of Romanian writer–director Cristian Mungiu’s 4 Months, Gabita Dragut (Laura Vasiliu) and her college roommate and friend Otilia (Anamaria Marinca) agree never again to discuss the horrific events of that day. To draw a shroud of silence over certain overwhelming experiences is a natural impulse. We avert our eyes, like urban pedestrians…