© Lian Ray Pictures
“Only the River Flows” takes its viewers to a neo-noir world set against early 1990s rural China. Here, a murder case casts a dark shadow over a quaint town by the river. The mind behind this atmospheric piece is Wei Shujun, who, in collaboration with Kang Chunlei, adapted Yu Hua’s evocative short novel, “Mistakes By The River.” This film is an audiovisual treat that seamlessly pairs its immaculate style with an ever-engaging puzzling narrative that thrives on ambiguity prompting audiences to ponder the underlying themes rather than simply absorb a linear story.
Original Title: 河边的错误 / Hébiān de Cuòwù
Directed by: Wei Shujun
Year: 2023
Country: China
Length: 101 minutes
The story revolves around Ma Zhe, portrayed by Yilong Zhu. Ma Zhe is a dedicated police chief, driven to desperation by the mounting pressure of the unsolved murders. He hastily points fingers at an individual, who is simply referred to as the “madman” (Kang Chunlei), linked to a murder victim, Granny Four, as her adoptee. But as the layers peel back, it becomes evident that this investigation is filled with much more complexity than the protagonist was initially led to believe. A web of suspects emerges, including a flamboyant hair stylist, a couple, and someone described as merely a tall person with long hair, all of whom witnessed the murder scene.
Venturing further into this web, Ma Zhe unveils the underbelly of his society, a realm tainted by prejudice, particularly ableism and queerphobia. The film provides a scathing commentary on societal biases and the undue pressures placed on law enforcement, painting a grim picture where the marginalized bear the brunt, irrespective of their deeds. Amidst this bleak thread, Ma Zhe and his girlfriend, who are expecting, have to deal with the potential prospect of having to raise a child with cognitive disabilities themselves, something that interlinks the protagonist’s personal life with that of the murder trial and makes him reflect on the systems around him. With his film, rather than providing clear answers as in standard police investigation films, Wei Shujun asks his audience to observe the holistic universe he created and draw conclusions themselves based on the way the different layers of society interact with one another.
The atmosphere of “Only the River Flows” is heightened by its meticulous production design. Audiences are effortlessly transported to a bygone era, with a smoky, noir ambiance, stellar 16mm cinematography, and a hauntingly beautiful score oftentimes dominated by wind instruments. Each frame is drenched in vibrant hues, lending depth and a striking authenticity. The film brilliantly nods to noir classics and borrows from Lynchian surrealism during a striking dream sequence, all while challenging traditional genre norms.
A standout element is the film’s sound design. It becomes a character in itself, pulling viewers deeper into Ma Zhe’s investigation, especially given its significance as his only lead. The contrast of silence against poignant soundscapes, amplified by exemplary sound mixing, lends a mesmerizing rhythm.
Despite its bleak themes, the film doesn’t lose its ability to infuse humor through its puzzling narrative, often veering into the realm of dark absurdity as we delve deeper into the mind of Ma Zhe. This juxtaposition arguably makes the film even more harrowing than if it had been devoid of humor because we get a glimpse into the protagonist’s unraveling mind. Just when you think you’ve got a grasp on it, the film delivers a curveball, shaking your perceptions and exceeding expectations.
With “Only the River Flows”, director Wei Shujun masterfully combines a confident vision with meticulously crafted design and profound themes. Its noir ambiance, thought-provoking societal critiques, and surrealism elevate it way beyond the usual films in this genre.
“Only the River Flows” Screened at the 2023 Vancouver International Film Festival
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