Exoticalot People are voting emotionally.

Mabel Munoz Just intense enough to provide a much-needed diversion, just lightweight enough to make you forget about it soon after it’s over. It’s not exactly “good,” per se, but it does what it sets out to do in terms of putting us on edge, which makes it … successful?

Darin One of the film's great tricks is that, for a time, you think it will go down a rabbit hole of unrealistic glorification.

Phillipa Strong acting helps the film overcome an uncertain premise and create characters that hold our attention absolutely.

dbborroughs Two men are sent to a village in the mountains for re-education during Mao's cultural revolution. Both fall in love with a seamstress in the village to whom they read forbidden books to in stolen moments. Beautiful, but unevenly paced story about the power of literature and music to change the world and change ourselves. Mostly unremarkable, the film pretty much does what you think it will, and since the film wasn't made by Orwell the ending (or its type) is never really in doubt. I really enjoyed the interaction between the characters, the exchanges between them seem genuine and real but the plot line isn't gripping, this is a story about literature changing the world not a thriller with mad escapes. Admittedly watching this at 1230 in the morning didn't help my ability to remain focused, however I still think that I probably would have had my attention wander. That said worth a look, but not too late at night in the middle of a movie marathon

walshthgrade Balzac and the Little Chinese Seamstress by Sijie DaiThe film was a very affectionate story right in between important events and right at the very end where it showed an important past of Luo(Kun Chen), Ma(Ye Liu), and The little seamstress(Xun Zhou) in the shed where they were re-educated and where Luo and Ma first feel in love with the Little Seamstress. I always thought that something would happen between Ma(Ye Liu) and Luo(Kun Chen) over the Little Seamstress(Xun Zhou) because Ma was always down about seeing Luo with The Seamstress, and i thought his jealousy would get in the way later on."Balzac and the Little Chinese Seamstress" is a passionate film that idealizes two guys who are in love with one girl and shows how determined the two guys were in trying to change the girl. However the film lacks a more passionate ending like Luo should have tried to get Ma and try to look for the Little Seamstress even though she went so far, then i thought they would meet up in the end when they were older.In the Story the Little Chinese Seamstress, Luo and Ma are two re-educated guys that both fall in love with a girl named the Little Chinese Seamstress. Luo and Ma both try to find a way to reform the Little Seamstress by using forbidden books. Luo falls in love with the Seamstress and Ma tries to not fall in love with the Little Seamstress for Luo. One element of the film i liked is how Ye Liu takes out his violin and plays Mozart. Ye Liu showed a very good additional theme to the story by playing a song with such a soft melody symbolizing harmony and peace. It somewhat showed how Ye Liu's character is and how it might shape him in the future in the film as Ma. One element of the film i really didn't like was when Kun Chen's character Luo wanted to change the Little Seamstress so that she would match up to him. Luo was a bit selfish but when it happened Luo fell in love with her anyways.The film was directed by Sijie Dai, who used the books and Concepts of Balzac, who is an author and introduces the New form of the Little Seamstress as time went by. Each one of the books that were read to the Little Seamstress by Ma and Luo gave the Little Seamstress that certain reason to leave and find something new in the city. The characters find themselves in that certain place, the place in memory where it all began, in that certain shed, where they had discovered one thing in particular, Balzac.Review by :geoffrey c. 5/13/07

Wingedwhitetiger Balzac and the little Chinese seamstress – Film review Balzac and the Little Chinese Seamstress is a film based on the cultural revolution of the 1970's. Two boys are sent to the country to be re-educated under Chairman Mao. The main focus of the movie is the adventures that the boys undergo while there. While they are there, Luo, one of the boys, falls in love with a local girl there, a seamstress. There is also a suitcase, belonging to one of the other boys, four-eyes, that is rumoured to hold in it secret books, illegal ones. The boys steal it, and with the help of their favourite author, Balzac, the little Chinese seamstress is changed forever from the simple girl she was.The movie itself leaves something to be desired. Although the plot of the book is simple enough, the adaptation for the movie has not been done well, and some crucial parts have been removed or replaced. There have been some major changes in the movie, and while this is to be expected of any movie adaptation, they do not suit the movie or the book, and make holes in the film.The characters, Ma (Ye Liu) and Luo (Kun Chen) are generally what you would expect them to be from the book. Their appearance is much the same, but they look too much alike to be able to tell them apart easily, especially with the cutting of one person to another. The Seamstress (Xun Zhou) has been done well, and is portrayed well. There is some difference from the book, but this is to be expected as it is an adaptation. The actors themselves have done quite well, and have settled into character much like the book, with the minor characters doing well at setting the scene for the main plot to take place. There were many minor roles, and all of them have done well in making the movie seem real and more life-like The scenery is fantastic. It has been beautifully captured by the camera, and the set of the movie has been chosen well. It fits in perfectly with the book, and is breathtaking to watch. The shots and angles used in the movie are also very well done. They accentuate the specific feeling in a particular scene to make it seem as if you are actually there. There is also very good lighting and sounds used in the movie, that are able to, again, emphasise a particular scene in the film that is of great importance. The sets are also very life-like, with the highlights being the little details that have been put into the sets, the feeling that it has been filmed during the 1970's is very much there. But the way that the camera has been able to capture it has been the most commendable achievement. It has been done in such a way that it is able to show the viewer what life was like, the details, and also to heighten a specific point in the movie.The plot of the movie, however, is not very well done at all. The storyline is jumpy and confusing, and leaves viewers still trying to work out what has happened long after an event has passed. The plot is extremely disorganised, and the adaptation has not worked out well. People would have to read the book before seeing the movie to work out which parts fitted where and what was happening. There is utter chaos when organising the scene where Ma has jumped ahead to the future. When he is reminiscing about how the little seamstress had left a while earlier (from what can be pieced together) it is very confusing trying to work out whether he is in the present or the past.The director of the movie (Sijie Dai) is also the writer of the book, so a better movie would be expected then this. But he has put the pieces of the movie together in such a way that, even though the scenes by themselves are brilliant, the movie is jumpy and hard to understand. The subtitles running too quickly didn't help. There are too many characters introduced at the same time, and eventually it gets far too complicated to understand the first time. One can only get their head around this movie if they have either read the book prior to watching the movie, or they have seen it more then once. Either way, there is too much effort required trying to understand the plot then is really necessary.The movie is shot well, with excellent scenes and camera angles used to create a great tone in the movie. The actors have done well with adapting to the parts, and the characters are not unlike the book. But the plot line is a real let-down, with the scenes being poorly placed, making the movie jumpy and unrealistic. The director has done poorly on this movie, which is confusing in itself, considering he wrote the book as well as making the movie. Maybe he should just stick to writing. Although, for those who have read the book, he isn't too good at that either. Overall, not a movie that is worth paying $4 to go and rent, and certainly not worth the time to try and understand.

noralee "Balzac and the Little Chinese Seamstress (Xiao cai feng)" raises the awkward situation of commenting on a semi-autobiographical story which was originally written, then adapted and directed by the person who lived it in the same, beautiful locations where the events that inspired Sijie Dai took place. How much is fiction and how much is docu-drama? And I haven't read the book so I don't know how much he changed. The basics of the story would seem like a 1940's sci fi allegory of a totalitarian, anti-intellectual society if the Cultural Revolution under the here ubiquitously revered ruler Mao Tse Tung hadn't actually happened, with its anti-literate class-based revenge of kicking the children of the perceived elite out of the cities to rural areas for re-education at rigorous manual labor. In outline, his story is like a real life "Fahrenheit 451" and "the Little Seamstress," the teen ager, played charmingly by Xun Zhou, who gets caught up in a triangle between the out-of-towners, like "Ninotchka." She, startlingly, has far more ambition than the loyal peasant girl in "The Road Home."So it's hard to tell if the strong condescension in the tone to the local peasantry is what the two young men finally learn to overcome or is somewhat shown to be just as endemic in the Communist Party as is seen at the end they were suppressing the beauty of local traditions almost as much as intellectual influences. Because the premise that transforming aesthetics can only come from outside influences through movies, fashion and Western literature and music just seems anthropologically naive as they poke fun at and trick the locals. We do see that the peasants appreciate story telling, sewing and songs - but only of the most earthy kind until the re-educated sneak in their experiences, disguised as homages to Lenin or Mao. For example, with the almost universality of stringed instruments in human culture, it's hard to believe that peasants would be that skeptical when first exposed to a violin. The film is at its strongest, and loveliest, when it sticks to the personal relationships that result from contacts with the locals, as human nature is more powerful than ideology and youth is simply irrepressible and non-Orwellian. The romantic triangle plays out beautifully and gently demonstrates male instincts for Pygmalion control, irrespective of politics. The story affirms the Law of Unintended Consequences, heavily symbolized at the end with the coming of a dam on the river that will have the same effect on these towns as the TVA had on now forgotten communities in Appalachia. This tender and poignant nostalgia is a chronological and thematic prequel to the less optimistic "The World (Shijie)" in showing the impact of globalization on China and its people.