《江湖儿女》
故事开始于2001年的山西大同，巧巧（赵涛 饰）和斌斌（廖凡 饰）相恋多年，巧巧一心希望能够和斌斌成家过安稳的生活，但斌斌身为当地的大佬，有着自己更高远的志向。一场意外中，斌斌遭人暗算危在旦夕，巧巧拿着斌斌私藏的手枪挺身而出救了斌斌，自己却因为非法持枪而被判处了五年的监禁。
一晃眼五年过去，出狱后的巧巧发现整个世界都发生了翻天覆地的变化，唯一不变的是她对斌斌真挚的感情。巧巧跋山涉水寻找斌斌的下落，但此时的斌斌早已经失去了往日的锋芒，而且身边已有了新的女友。身无分文的巧巧靠着自己的智慧摸爬滚打，终于为自己挣得了一片天地。
影片讲述了巧巧与斌哥跨越17年，历经相爱与背叛、分离又重逢的故事。
获奖情况：
第54届芝加哥国际电影节
最佳导演银雨果奖 贾樟柯
最佳女演员银雨果奖 赵涛
主创简介：
导演： 贾樟柯
贾樟柯，中国第六代导演代表人物，毕业于北京电影学院文学系。在校期间他组织了“青年电影实验小组”，由此开始了他的电影实践。1995年拍摄第一部57分钟的短片《小山回家》得了香港映像节的大奖。此后他的作品屡获殊荣，《小武》获得第48届柏林国际电影节亚洲电影促进联盟奖和沃尔福冈·施多德奖、第3届釜山国际电影节新浪潮奖；《站台》获得第57届威尼斯国际电影节亚洲电影促进联盟奖；《三峡好人》获得第1届亚洲电影大奖最佳导演奖、第63届威尼斯国际电影节金狮奖；《无用》获得第64届威尼斯国际电影节地平线单元最佳纪录片奖；《天注定》获得第66届戛纳国际电影节最佳编剧奖等等。
他的电影有自己的世界，并且在以自己的方式在思考这个世界变迁的意义。在中国电影集体沉沦于虚无缥缈的非现实主义题材的时候，贾樟柯对中国现实的强烈人文关注显得尤为可贵。从《小武》发端，到如潮好评的《三峡好人》，贾樟柯的影像世界正在逐步成为理解中国的一种特殊方式，亦在重新诠释中国电影的现实主义。
法国《电影手册》评论：“《小武》摆脱了中国电影的常规，是标志着中国电影复兴与活力的影片。”德国电影评论家乌利希·格雷格尔则称他为“亚洲电影闪电般耀眼的希望之光”。
电影短评：
- 《江湖儿女》秉承了贾樟柯电影一贯的关注现实、关注现实生活中普通人的成长和境遇变迁的话题。但从故事讲述的风格上讲，影片更关注银幕的“光鲜”和“亮丽”成分，并引入了黑帮片的因素。而在此前贾樟柯的电影更偏重风格的纪实和情节的淡化。该片做到了情节引人入胜，戏剧性大大增强，银幕呈现方式更适合观众。这也是贾樟柯电影向市场迈出的一大步。（西安日报-裴亚莉评）
Ash Is Purest White
The story begins in 2001 in Datong, Shanxi. Qiaoqiao (played by Zhao Tao) and Binbin (played by Liao Fan) have been in love for many years. Qiaoqiao hopes to have a peaceful and stable life with Binbin, but Binbin is a local gang leader. A guy with big ambition. During an incident, Bin Bin was trapped by conspiracy, and Qiaoqiao cleverly took Bin Bin’s private pistol stood up to protect him, however she was charged for illegally holding a gun and been sentenced to five years in prison.
Five years have passed, after being released from the prison, Qiaoqiao discovered that the whole world has undergone a tremendous changes. The only thing that hasn’t changed is her feelings for Bin Bin. Qiaoqiao waded through the mountains to seek for Bin Bin’s location, however Bin Bin had already lost his former edge and already had a new girlfriend by his side. Penniless Qiaoqiao relied on her own wisdom to fumble, and finally earned a piece of world for herself.
The film tells the story of Qiaoqiao and Bin’s love and betrayal, separation and reunion over the spam of 17 years.
Awards：
The 54th Chicago International Film Festival
Silver Hugo Award for Best Director Jia Zhangke
Best Actress Silver Hugo Award Zhao Tao
Creator introduction：
Director: Jia Zhangke
Jia Zhangke, the representative of the sixth generation of directors in China, graduated from the Literature Department of Beijing Film Academy. During his time at school, he organized the “Youth Film Experimental Group”, which started his film practice. In 1995, the first 57-minute short film “The Hill Go Home” won the grand prize of the Hong Kong Film Festival. Since then, his work has won many awards, “Xiao Wu” won the 48th Berlin International Film Festival Asian Film Promotion League Award and Wolfgang Stode Award, the 3rd Pusan International Film Festival New Wave Award; “Platform” won The 57th Venice International Film Festival Asian Film Promotion League Award; “The Good Man in Three Gorges” won the Best Director Award at the 1st Asian Film Awards and the Golden Lion Award at the 63rd Venice International Film Festival; “Wuyou” won the 64th Venice International Film Festival Best Documentary Award in the Horizon Section of the Festival; “Destiny” won the Best Screenplay Award at the 66th Cannes International Film Festival and so on.
His films have their own world, exploring the meaning of how the world itself gradually changed over time. At a time when Chinese films collectively sink into illusory and unrealistic themes, Jia Zhangke’s strong humanistic attention to Chinese reality is particularly valuable. From the beginning of “Xiao Wu” to the rave reviews of “The Good Man in Three Gorges”, Jia Zhangke’s video world is gradually becoming a special way of understanding China and reinterpreting the realism of Chinese movies.
The French “Cinema Manual” commented: “Xiao Wu got rid of the conventions of Chinese cinema and is a film that marked the revival and vitality of Chinese cinema.” German film critic Ulrich Greger called him “Asian Film Lightning” Such a dazzling light of hope”.
Movie Review：
“The Children of the Rivers and Lakes” inherits Jia Zhangke’s film’s consistent focus on reality and the growth of ordinary people and changes in circumstances in real life. But in terms of the style of storytelling, the film pays more attention to the “glossy” and “beautiful” elements of the screen, and introduces the element of gangster movies. Previously, Jia Zhangke’s films emphasized more on the documentary style and the downplay of plot. The film has achieved a fascinating plot, greatly enhanced drama, and the screen presentation method is more suitable for the audience. This is also a big step for Jia Zhangke Film to the market. (Xi’an Daily-Pei Yali Comment)
