In this Chinese police procedural, directed by Wei Shujun, solutions are murkier than they first appear.
Near the start of “Only the River Flows,” police officers set up an office in a closing movie theater. That backdrop suits this Chinese noir, the third feature from the director Wei Shujun, which, at times, feels like it unfolds in a universe of other films.
Tangled, unresolved procedurals like Bong Joon Ho’s “Memories of Murder” and David Fincher’s “Zodiac” loom large. Much of the score, on the other hand, is taken, strangely, from David Cronenberg’s “Crash” — not a murder mystery, but perhaps a clue to the kind of mind-body disconnect and existential stakes that Wei’s film means to ponder.
The story, largely set in 1995, follows a police captain named Ma Zhe (Zhu Yilong) as he investigates the killing of a woman called Granny Four. At first, the case seems straightforward: Granny Four had taken in a simpleton who, throughout the movie, is known only as “the madman” (Kang Chunlei) — a natural suspect. But nothing is so clear-cut. Many of this thriller’s pleasures involve watching Ma Zhe chase leads, as he listens to a cassette found at the crime scene to try to locate a woman heard on it or questions a hairdresser (Wang Jianyu) who seems eager to be apprehended.
But “Only the River Flows,” based on a work by the author Yu Hua, is not the pure pulp a summary suggests. (An opening quotation from Albert Camus is fair warning.) As Ma Zhe’s personal life and the investigation begin to merge in his mind, Wei’s film increasingly blurs the line between the real and the imagined. The filmmaker has a gift for disorientation — a chilling cut connects a scene of a pregnancy ultrasound to Ma Zhe flipping through slides of murder evidence — that partly compensates for the muddiness of the plot.
Only the River Flows
Not rated. In Mandarin, with subtitles. Running time: 1 hour 41 minutes. In theaters.
Source: Movies - nytimes.com
