Much has been written about post-communism in Russia and China. But two recent films reveal the social and political landscapes of these countries more clearly than any scholarly book or serious journalism has been able to do.
NEW YORK – The times we live in are often most clearly reflected in the mirror of art. Much has been written about post-communism in Russia and China. But two recent films, Jia Zhangke’s A Touch of Sin, made in China in 2013, and Andrey Zvyagintsev’s Leviathan, made in Russia in 2014, reveal the social and political landscapes of these countries more precisely than anything I have seen in print.
NEW YORK – The times we live in are often most clearly reflected in the mirror of art. Much has been written about post-communism in Russia and China. But two recent films, Jia Zhangke’s A Touch of Sin, made in China in 2013, and Andrey Zvyagintsev’s Leviathan, made in Russia in 2014, reveal the social and political landscapes of these countries more precisely than anything I have seen in print.