Jia Zhangke , China’s quintessential indie director, says that the COVID-era lockdowns gave him a chance to rethink and review the miles of footage that he has shot over more than 20 years of filmmaking. The result was “ Caught by the Tides ,” which premiered at Cannes and plays again this week at the Busan International Film Festival . In “Tides,” Jia mixes up older footage with specially-created new material and has his wife and muse, Zhao Tao wander through twenty years of Chinese history.
They are both documenting and dramatizing recent Chinese societal and economic development – from the time when China was granted admission to the World Trade Organization, through the time when it won the right to hold the (2008) summer Olympic Games through to a near present. Jia’s approach is like that of a pulp fiction writer. Speaking at a Busan event, Zhao explains that ‘Qiao Qiao’ is Jia’s favorite name and has been used before for characters played by her.
“But this is not the same character. It is a different Qiao Qiao,” she said. Similarly, “Tides” makes prominent use of recent music.
“But I did not feel the need to use it sequentially. Using it in a non-linear fashion, gave me more freedom,” Jia said. Jia embraces the unreliable “We are an animal of forgetfulness.
More than the footage itself, the sound recordings took me back to my past. There are lots of unrelated fragments, not particularly relevant, in the first third of the film. But our .