A Touch of Sin
Directed by: Jia Zhangke
Written by: Jia Zhangke
Starring: Jiang Wu, Zhao Tao, Luo Lanshan and Wang Bao
Tiger, ox, snake and rooster- these four animals, symbols on the Chinese Zodiac calender, are key to understanding the central character in each of the four chapters in Jia Zhangke’s A Touch of Sin. It illustrates the clashes and cohesion of tradition and modernism as it applies to those people, who operate in four distinct areas of that industrial and economic superpower.
It’s thrilling that a movie as confrontational and abrasive as A Touch of Sin could even be made in China, where the film industry, like many other things, is regulated by the government. The movie’s bloody genre trappings aren’t subtle, and they enhance the overt political statements rather than mask them. Each character is confronted by different, uncensored truths about their country, and each of their stories erupts with violence and death.
The first is the story of Dahai (Jiang Wu), a disgruntled miner. Confronted with poverty after corruption and greed privatizes his mine, he becomes a working-class avenging angel, wielding a shotgun and a pitiless dead-eyed gaze. That gun is wrapped in a tiger-imprinted cloth, and a loud growl precedes his rampage. Wu is a commanding, ferocious screen presence.
Next is the ox, a gun-loving migrant worker who returns to his family in the southwestern city of Chongqing. His act of violence is the murder of a wealthy couple so he can snatch the woman’s purse. In fact, nearly all of the carnage in A Touch of Sin is spawned by economic injustice. There is the snake, a spa receptionist bullied to brutality by a rich man looking to use her for sex. And, finally, there is a young man searching for economic opportunity, unaware of endless dead ends and vast corruption.
This is my first encounter with Zhangke’s work, and the boldness and skill he executes each chapter is astounding. His characters are not defined by their respective zodiac animals or by their violence. Both of those are overt contrasts with their attempts at normalcy in modern China. There are glimpses of labor factories, train crashes and ruthless economic disparity; things that do not make headlines in state-run newspapers but that Zhangke clearly wants to the world to see.