Li Ruijun’s newest feature is a touching portrait of love and resiliency that doubles as a critique of China’s ruling class.
According to reliable news reports, the Chinese government never confirmed having banned Li Ruijun’s quietly heartbreaking feature “Return to Dust,” a touching portrait of love and resiliency in a collapsing rural community of Gansu Province.
Still, the film was pulled last fall from all Chinese movie theaters and streaming services two weeks after a successful domestic debut. It isn’t hard to see why. China’s leadership has a history of suppressing art that spotlights the failings of its ruling class and ideology, which is exactly what Li’s film does, with a script that feels only occasionally overwritten. That he succeeds without making it feel like homework — which is to say beautifully, humanely — is presumably what made the film so threatening.
With superb performances by Wu Renlin and Hai Qing, “Dust” tells the story of Youtie and Guiying, middle-aged strangers pushed into an arranged marriage by families looking mostly to offload them. Youtie is a dirt-poor farmer living in a crumbling mud-brick home on the cold, arid hem of the Gobi Desert, effectively indentured to his brother and a local merchant. Guiying has a chronic illness. Her hands tremble, and she can’t control her bladder; whether her problems or her family’s abuse came first is unclear.
As their awkward union evolves into one of genuine trust and affection, their fortunes, if not their long-suffering donkey’s, improve. Their methods are backbreaking, ancient and dusty but also dignified — rendered with golden, poetic sensitivity by the cinematographer Wang Weihua.
Unfortunately, we’ve seen enough movies to know what that worsening tremble bodes and what kind of story that donkey is there to observe. Unless he’s friends with Shrek, it probably isn’t comedy.
Return to Dust
Not rated. In Mandarin, with subtitles. Running time: 2 hours 11 minutes. In theaters.
Source: Movies - nytimes.com
