Ash Is Purest White

Like his earlier films, Jia Zhangke’s latest is tied to changes occurring in modern Chinese society, in this case using a gangster scenario within a ruminative, moody film that features a tripartite structure. The story begins in 2001 with Qiao (Zhao Tao) involved with provincial gang boss Guo Bin (Liao Fan). A hardboiled dame from a dying mining town, Qiao saves Bin with his illegal gun when they are attacked by a band of motorcycle thugs. She then further protects him by claiming that the gun is hers, earning herself a five-year prison term. The second act, set in 2006, follows the just-released Qiao as she travels northward through the altered landscape in search of Bin, enduring episodic experiences—some humorous, others poignant—along the way. Although old acquaintances tell her that Bin has moved on and does not want to see her, she finally locates him, only to find that he is a changed and desolate man. The final section of the film leaps ahead to 2018, as Qiao and Bin have effected a reconciliation of sorts, but she is now the boss, while he sits dejectedly in a corner, a shadow of his former self, treated without respect by his colleagues. The white volcanic ash alluded to in the title symbolizes the absolute fidelity with which Qiao still adheres to the old values, especially loyalty. A long and demanding film that is also an important addition to the canon of one of today’s most notable directors, this is recommended. [Note: DVD/Blu-ray extras include a dialogue with director Jia Zhang-ke at the 2018 New York Film Festival (64 min.). Bottom line: a solid extras package for a notable foreign film.] (F. Swietek)