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{"channel":"magazine","content":{"copyCount":6503,"imageCount":0,"embedCount":17,"ratio":382.52941176470586,"midContentCadence":900},"contentType":"article","experiments":{},"keywords":{"copilotid":["5911c80e4c70ae57429ab128"],"platform":["verso"],"tags":["reporting","24-city","censorship","china","chinese","hero","jia-zhangke","movie-directors","platform","robert-bresson","still-life","the-world","three-gorges-dam","magazine","a-reporter-at-large","2009-05-11"]},"server":"production","slug":"the-long-shot","subChannel":"a-reporter-at-large","subSubChannel":"","templateType":"mt_article_two_column"};</script><link rel="preconnect" href="https://ads-static.conde.digital"/><script id="ads-v6" src="https://ads-static.conde.digital/production/cns/builds/the-new-yorker/v6.js" async=""></script><script type="application/ld+json">{"@context":"http://schema.org","@type":"NewsArticle","articleBody":"After the third unsatisfying take, Jia jogged out from behind the camera and, with a gloved hand, traced an imaginary target high above the head of an actress dressed as a clown. The fire-breather, who was on loan from a local theatre troupe, nodded and took another swig of kerosene.\nAt thirty-nine, Jia is five feet four and slight. Enveloped in an olive-green parka and black scarf, he walked around the set with his hands plunged deep into his pants pockets, giving him the bearing of a kid skipping school. He was composing the day’s first scene in the shadows beneath a highway overpass, with gangly models positioned among circus characters. The models shivered in parkas and Ugg boots until the final seconds before each shot, when they shed their coats and squeezed their feet into stilettos. Forty-eight hours earlier, Jia had been under palm trees at a gala hosted by the Los Angeles Film Critics Association. “We ate a meal, picked up our awards, and got back on the plane,” he told me. He received awards for Best Foreign-Language Film and for Best Cinematography for “Still Life,” his drama about the social and physical demolition wrought by China’s Three Gorges Dam. (“Still Life” had also received the top prize at the Venice International Film Festival in 2006, and prompted Manohla Dargis, of the Times, to declare Jia “among the most strikingly gifted filmmakers working today whom you have probably never heard of.”)\nJia’s latest feature, “24 City,” an unusual blend of documentary and fiction which tells the story of a factory closing, was set to première in a month in nearly a hundred theatres across China, one of his largest releases yet. The movie had screened at Cannes nearly a year earlier, but since then Jia had been negotiating with Chinese censors about how much he would be forced to cut in order to release it in China. (About two minutes, it turned out, including a scene of workers singing a desultory rendition of the “Internationale.”) In a few weeks, he would release his first book, “Jia Xiang” (“Jia Thinks”), a collection of essays and interviews, followed two weeks later by a second book, a compilation of interviews he has conducted with laborers. Before the end of the year, he is scheduled to begin shooting two new films, and next spring he is slated to be in New York, where the Museum of Modern Art is preparing a full retrospective of his work, the first in more than twenty years that it has devoted to a mainland-Chinese filmmaker, and a remarkable milestone for someone his age. His calendar is booked through 2013.\nOn the political spectrum of Chinese filmmakers, Jia is difficult to place. Neither a dissident nor an entertainer, he makes films that are archly political but sufficiently oblique to obtain theatrical release. The Chinese government is particularly sensitive this year, because it is the twentieth anniversary of the crackdown on demonstrators at Tiananmen Square. Jia’s Esquire spread was designed to look like the nineteen-eighties. When I asked, “What’s with all the fire?” he broke into a mischievous grin and said, “The eighties had a few fires.”\nOnce more, the models shed their coats, and behind them a crew member touched a lighter to an abandoned car drenched in gasoline, and it erupted in flames. The air reeked of hair spray and motor oil. Jia spun around to hustle out of the shot before the flames died down. “Camera! O.K., ready! Go!” It was splendidly bizarre.\nJia would not have had much use for pyrotechnics a few years ago, when he was known for a near-evangelical fidelity to realism. Once, in a student film, he had featured a wordless seven-minute sequence of a man walking on a Beijing street, in order to subject the audience to what he called “a staring test.” His films are so subdued—nonviolent and virtually sexless, filled with long shots, long takes, and restrained dialogue—that when the actress Zhao Tao showed her family “Platform,” her first movie, her parents fell asleep. Yet when Martin Scorsese happened upon a tape of “Xiao Wu,” a decade ago, he experienced what he described to me as “a visceral reaction,” explaining, “The real test of a film is when I look at it—not knowing where it came from, not knowing anything about it—and suddenly you want to make movies again. I think this is really what happened.” Scorsese went on, “It was just so moving, so moving, and so rigorously made.”\nJia works best at night. On set, he has been known to shoot until dawn. He lives by himself in a two-bedroom apartment in central Beijing, but he is rarely at home. (His seven-year marriage to Zhu Jiong, a professor at the Beijing Film Academy, ended in 2006, though she has continued to work as a producer on his films.) He spends most of his time at his studio, in a drab apartment compound near the Beijing Film Academy, where he once studied. The studio has several low-ceilinged offices branching off a main room furnished with Ikea-style desks and chairs. It carries the hint of a boiler-room operation that could be dismantled in a hurry, and seems well-suited to his belief that, even after living in Beijing nearly half his life, he is an interloper. Shanxi Province is “my true China,” he says. “My focus, my concern, my emotional world is there. Beijing is the city where I work and plan films.”\nJia’s relations with the government are tepid. He coöperates with China’s state-run studios for distribution but not for financial backing. He relies on private investors in China, Japan, Hong Kong, and Europe. He also makes an average of ten commercials a year, for Olay, China Mobile, and others.\nJia is not much interested in plot. His attraction to film seems to owe more to the dictum of André Bazin, the French theorist whom he counts as an inspiration, that photography “embalms time.” Jia crams his movies with so many hair styles, pop songs, and news references that they feel like time capsules of the here and now. He has a single, unwavering theme: the liminal space in which individuals try, usually in vain, to move from one life to another—floating migrants, laid-off factory hands, restless teen-agers, all trapped on the margins of China’s boom, with enough technology to glimpse the wider world but no way to reach it. In Jia’s cosmology, trains usually speed out of sight before you can catch them and motorcycles break down. His characters are often inspired by people he grew up with—friends, in his words, “as ignorant and coarse and full of vitality as roadside weeds.” (Before I visited Jia in Shanxi, my only previous trip to the province had been to write about a nearby city that had been ranked as China’s most polluted place. When I asked why the apples on the trees there were covered in plastic bags, a farmer explained that it was to keep them from being stained by the air.)\nLate in the afternoon of the Esquire shoot, Jia and company had moved to a gymnasium, where a few dozen college students were costumed in Mao suits and eighties-style double-breasted jackets. Somewhere in the crowd Jia spotted a pair of modern sneakers, and he stalked over. “Who else is wearing the wrong shoes?” he demanded. “You are all university students! You are capable of checking yourselves!”\nHe glanced at his watch. They were behind schedule and would be skipping dinner. He had been exacting all day, doing so many takes that, at one point, one of the models grumbled to another, “I’ve never seen someone take pictures so slowly.”\nWatching from the side was Zhao Hai, an old friend of Jia’s from middle school who does odd jobs around the set when Jia is back in town. At Fenyang Middle School, they had been among the founding members of a school poetry society they called the Raspy Division, after the new sound of rock and roll.\n“Of the seven of us, he was the best. He had natural ability,” Zhao said. They had published their work in pamphlets cranked out in batches of a hundred on a mimeograph. The poems were hardly subversive stuff—matters of the heart were a recurring theme—but in the stifling confines of their school, Zhao said, they were “a sensation at the time. We were sort of celebrities on campus.”\nUnlike Jia, Zhao never left Shanxi. He works as a graphic designer today and looks older than his years, with white streaks in his hair and a weary expression on his face. “We were all quite talented, but he had persistence,” Zhao said. “For a kid from a small town to become a film director? That’s a distant dream.”\nHis family, though not impoverished, was underfed. They relied so much on cheap sweet potatoes one winter that he still can’t stomach them. Jia’s mother, Zhang Ruiying, worked the counter at a state-run distributor of sugar, cigarettes, and liquor—the rare luxuries of village life. Jia’s father, Jia Liankai, the son of a surgeon, had not been allowed to go to college, because he was classified as a “landlord”; he cultivated a quiet, anonymous life as a local schoolteacher. Even so, Jia Liankai could not escape politics. Once, the school was ordered to meet a quota of identifying three “rightists” among its teachers. “The principal found a way to decide who was a rightist: all the teachers were told to stand on a platform in the playground, shoving each other. The first three who fell to the ground were the ‘rightists,’ ” Jia Zhangke said. “When my father told me this story, many years later, I could still see the fear in his eyes.” Jia’s father wrote poems, which Jia didn’t read until years later. Every one of them, he discovered, was an ode to a political movement, as if his father had assumed that someone would inevitably try to use them against him.\nAs a teen-ager, in the eighties, Jia revelled in China’s sudden influx of new pop culture. He rode the bus for four hours to buy a cassette of Teresa Teng, the empress of Taiwanese love ballads. It felt gloriously subversive, and he eventually sought to capture, in his films, the transformative power of music and imagery. “Before that, the songs we sang were ‘We Are the Heirs of Communism’ and ‘We Workers Have Power.’ It was always ‘we.’ But in Teresa Teng’s song, ‘The Moon Represents My Heart,’ it was about ‘me.’ So, of course, we loved it!”\nHis favorite movie was “Breakin’ ”(1984), a breathtakingly campy break-dancing drama inspired by “West Side Story.” “I watched it seven or eight times. I taught myself the moves,” he said, and he put his skills to use one summer with an itinerant song-and-dance troupe. He graduated from high school the same spring as the Tiananmen Square demonstrations, known in China as the events of June Fourth. The protests were distant, and clouded in official condemnations, but the movement made a searing impression on him. “Although it failed, it didn’t really fail,” he said, “because it took freedom and democracy, individualism, individual rights, all these concepts, and disseminated them to many people, including me.”\nTwo years later, while studying oil painting in Taiyuan, Jia saw the film “Yellow Earth,” by Chen Kaige, which was set on China’s northern plains, close to where Jia grew up. For the first time, he imagined that film could be a way to render the world he knew, and he applied to the Beijing Film Academy. He was rejected—twice. It didn’t help that he knew virtually nothing about film. “In the whole city of Taiyuan, I could find only two books on film,” he said. On his third try, Jia gave up on the directing track and shouldered his way into the academy through the back door, as an auditor in the less competitive theory program. When he arrived, in 1993, he was older than most of his classmates. To Jia, “they were all children” and he felt out of place. His country roots set him further apart from privileged urban students, who used the word “farmer” to tease one another. Jia moonlighted as a TV ghostwriter, but once went unpaid after writing a twenty-part drama, and the experience left him with “a profound suspicion of people.” On his balcony at home, he still keeps the set of cheap porcelain cups that he received as compensation for the script.\nJia immersed himself in films from Taiwan and Europe, often watching three a day. Those which he could not find in the school archives he found on the street, as pirated V.H.S. tapes. He often pedalled his bicycle across town to watch screenings at a French cultural center in Beijing. He revered Hou Hsiao-Hsien, the Taiwanese master whose long takes and wide-angle shots eventually shaped Jia’s style. He admired Vittorio De Sica and Michelangelo Antonioni, but none of those influences affected Jia as deeply as Robert Bresson, whose use of nonprofessional actors Jia first encountered in “A Man Escaped” (1956). “Bresson took plot, photography, and performance, and one by one he negated them, leaving only the purity of the film,” Jia has said. “It was the first time that I ever felt the charm of time itself, and understood a kind of transcendent amusement with the spirit of film.”\nOne night, Jia and some friends were walking home from another dreary studio picture when Jia said, “Let’s make a movie—the kind of movie we want to make.” As his friend Gu Zheng later recalled, in an essay that lends the night some cinematic drama, one of them smashed a beer bottle, and it sounded, to Gu, like “our manifesto.” They named themselves the Beijing Film Academy Youth Experimental Film Group.\nJia wrote a script called “Xiao Shan Going Home,” about a cook trying to get to Henan for Chinese New Year, and he cast his classmate Wang Hongwei in the lead. It was an improbable choice—a professor had recently pronounced Wang to be the worst actor in the class—but Jia liked Wang’s low-key approach, and he rounded out the cast with other nonprofessionals, including one guy who had to be persuaded over a bottle of Erguotou, China’s cheap grain alcohol. When they screened the film, classmates were unimpressed. They said it was crudely edited, and they disapproved of Jia’s use of regional dialects instead of standard Mandarin. (At the time, Chinese films and television were required to use standard Mandarin.) When Jia tried to screen it at Beijing Normal University, he was told that the film had “anti-social tendencies.” But a film journalist urged Jia to enter his film in the Hong Kong Independent Short Film & Video Awards. As a mainlander, Jia had had trouble meeting the eligibility requirements, and had to play up the role of a Hong Kong citizen who was part of the production in order to enter. The film took first place.\nThey headed to Shanxi to make a film, and when they reached Jia’s home town, Fenyang, Jia was overwhelmed by the changes that were unfolding. “Many of my old classmates were married with kids but now getting divorced, or they were clashing with their parents. Traditional values were crumbling. Money was at the center of everything,” he said. A classmate-turned-cop told Jia about a childhood friend, the man they called Donkey, who had ended up as a petty thief. Inspired, Jia wrote “Xiao Wu,” about a pickpocket—a subject his idol Bresson had also dealt with.\nThe crew slept ten to a room in a local hostel. The set had few lights and no video monitors to show what the cameraman was filming. If that wasn’t hard enough, Jia encouraged his nonprofessional actors to veer off the script if it felt stilted, and they were so often out of position or improvising that Yu and Jia began to use long takes partly to accommodate them. As a rebuke to the polished audio tracks of other Chinese films, Jia told the sound engineer to leave in as much authentic random sound as possible—car horns, loudspeakers, pop music. The engineer finally quit, claiming that the film would tarnish her reputation.\nWhen “Xiao Wu” was screened in Beijing, professors at the film academy were uninterested. But other intellectuals regarded it as groundbreaking. In contrast to the epic historical Chinese dramas that were popular at the time, Jia had revealed a bitterly unadorned image of contemporary life and its discontents. To older Chinese admirers especially, the film’s honesty was bittersweet. “We had been forbidden from telling the truth for such a long time that once we were allowed to do so, we did not know how to tell the truth,” the painter Chen Danqing wrote of the film. It won awards at festivals in Berlin, Pusan, San Francisco, Vancouver, and elsewhere, but China’s censors—the State Administration of Radio, Film, and Television—were readying their response. On January 13, 1999, Chinese authorities banned Jia from making films. His name was placed on a blacklist that was circulated to equipment shops. No one would rent him a camera, and no processor would develop his film. He was twenty-nine.\nWhile scouting for an actress who could speak the local dialect, Jia visited a dance class at the Taiyuan Teachers College, where he noticed a tough-minded instructor, Zhao Tao, who came from a steel-mill family. She saw him staring. “I was thinking, What’s up with this guy?” she told me. Jia introduced himself and Zhao agreed to try acting, though she had been sufficiently spooked by casting-couch stories that she arrived on set with a stun gun. She eventually became his muse, and acted in five more of his feature films.\n“Platform,” which begins in 1979, as the Cultural Revolution is giving way to reform, opens on a village audience crowded around a stage for a performance of a Communist musical about Mao’s birthplace, “A Train Travelling Toward Shaoshan.” (It included melodies that Jia’s sister had performed on her violin growing up.) In the opening scene, the young members of the Peasant Culture Group from Fenyang pantomime a whistling, chugging train moving across the stage, but after the show their boss berates troupe member Cui Mingliang (portrayed by Jia’s former classmate Wang) for his feeble attempt at engine noises. Cui concedes, “I don’t know how trains sound.”\nThe film follows Cui and others for a decade, as they traverse not only the Chinese countryside but also eons of cultural and political transformation. When Cui wears his first pair of bell-bottoms, his father, a laborer, demands to see if he can squat in them. “I’m an art worker! No manual labor,” Cui protests.\n“Platform” conveys an unglamorous view of China’s lurch into the free market. At one point, an illiterate coal miner is asked to sign a contract that reads:\n\nLife and death are questions of fate. I’m willing to work in Gao’s mine. Management accepts no blame for accidents. . . .\n\n“Platform” ends in 1989, at the dawn of another new era; the cultural work team, now privatized and renamed the All-Star Rock n’ Breakdance Electronic Band, is doomed, soon to be replaced by televisions as entertainment in the villages.\nWhen he finished shooting “Platform,” Jia confronted the problem of how to edit the film in secret. “We dared not process the film in China, because all the laboratories were owned by the government,” Chow Keung, the associate producer, who has served as executive producer of many Jia films, recalled. Chow saw no choice but to pack up the footage and smuggle it through customs at the walk-over border with Hong Kong. Chow was terrified. “Sometimes I had to hand-carry it,” he said.\n“Platform” premièred at the Venice film festival, and went on to win more than half a dozen major prizes around the globe. Writing in Film Comment, Kent Jones compared Jia’s mastery of his moment in time to Godard’s in the sixties and Altman’s in the seventies. Jia was a full-blown film-festival celebrity. He dedicated the film to his father, and returned to Shanxi to screen it for him. As they watched together, his father’s unease was palpable. “He said, ‘I envy you, because you can write about yourself,’ ” Jia told me. “But he also worried about me.”\nDespite his success abroad, Jia was increasingly dispirited. He was working at a furious pace: he followed “Platform” with “In Public,” his first documentary, a sublime short—shot in a train station, a dance hall, and other locales—and “Unknown Pleasures,” a feature about restless, disillusioned youths in a rust-belt town. But in China his films could be found only on pirated disks or at small screenings in bars. He felt powerless. “My motivation for making films was not simply a love of movies but also a sense of idealism, a hope that I could help to change society.” He had come to see Chinese directors as “carnies,” as he put it—knife-jugglers with little to show for their risks—and he considered abandoning cinema. On a trip to New York, he visited Martin Scorsese at his office and said he might quit making movies. “I said, ‘You can’t do that!’ ” Scorsese recalled. “ ‘You’re going to have to go on. You’re going to have to really push through.’ ”\nFor a year, Jia shot nothing. He returned to Shanxi and spent weeks with old friends. They still called him Lailai, and harangued him for not having children yet. It was restorative, and, over time, Jia’s conception of his place at the intersection of culture and politics began evolving as well. “I realized that the power of a single individual is truly limited, but culture itself is powerful,” he said. “You discover that there are people in journalism, literature, painting, all trying to do the same thing.”\nFor his first legal film, “The World,” Jia departed from Shanxi to tell the story of workers in a real-life Beijing theme park, where tourists could climb a miniature Eiffel Tower or be photographed in front of an ersatz World Trade Center. In an aesthetic break, he laced the film with a series of lushly colored animated sequences intended to convey the sheer strangeness of the place. It was Jia’s biggest production yet, with a budget of more than a million dollars, but though it was a critical success in the United States and elsewhere, Jia was disappointed by the muted impact at home. He flew west to the Three Gorges Dam, the mammoth hydroelectric project spanning the Yangtze, to make a documentary about the contemporary artist Liu Xiaodong, who was painting scenes of local workers. But, as Jia shot the documentary, which was later entitled “Dong,” the sight of two-thousand-year-old towns being demolished inspired a feature as well—“Still Life”—which Jia wrote over three days, holed up in his hotel. He cast his cousin, Han Sanming, as a coal miner in search of an estranged wife. To appear in the film, Han took a break from his real job, as a coal miner in Fenyang; after shooting, he returned to the mine.\nJia began to grow frustrated with the limitations imposed by realism. He had come to believe that China’s transformations were so fast and mind-bending that putting them on film virtually demanded surrealism. In “Still Life,” a building launches into the air like a rocket, and a flying saucer zips across the sky. (As Jia has explained to a film magazine, China’s “official speeches and pictures are like U.F.O.s that never touch the ground.”) At their best, the effects make the distinction between real and unreal irrelevant: the final shot of “Still Life”—a lone figure silhouetted against the sky, balancing on a tightrope between buildings, an image that often strikes me as a fitting metaphor for Jia himself—looks scarcely stranger than anything before it.\nThe production was draining. When Zhao Tao, who was playing the role of a nurse searching for her gallivanting husband, was not giving the subdued performance that Jia wanted, he secretly told the crew to ignore her or do whatever they could to make her miserable. She nearly quit the production before Jia let her in on the ruse. (“That was evil,” he said later, then added, “It worked.”) The budget had called for two or three trips to the gorges, but Jia was unhappy with his attempts to capture the scale of the transformation, and he insisted on making six trips. Costs mounted. A French investor pulled out. “We were nearly bankrupt,” Chow, the producer, said. They raised more money, but while racing to finish the film in time for the Venice festival, Jia received a call from his sister: their father had been given a diagnosis of late-stage lung cancer. Jia stayed at the hospital for weeks. When his father died, in March of 2006, Jia’s dominant emotion was guilt, for having invested so much more energy in his films than in his family. “When he died, it was like I suddenly grew up,” Jia said.\nHis absorption in his work was also dooming his marriage. Jia and Zhu Jiong were seldom in the same city. They parted amicably. Jia still blames himself: “I was not responsible enough to her. She was too lonely.”\nThat September, “Still Life” took the top prize in Venice, making Jia only the second mainland-Chinese director to win it, after Zhang Yimou, the director of “Ju Dou” (1990) and “Raise the Red Lantern” (1991). But as Jia prepared to release “Still Life” in China, his frustration with the film establishment—and with Zhang Yimou in particular—boiled over. Jia accused China’s older filmmakers of churning out big-budget action pictures that neglected the country’s mounting social problems. “When faced with the complexity of real society, their hands and feet quiver, and they deliriously shoot a bunch of childish fairy tales,” Jia wrote in an essay. He blamed a blockbuster mentality for preventing films like his from reaching a wider audience. To emphasize the point, he premièred “Still Life” on the same day that Zhang unveiled “Curse of the Golden Flower,” a forty-five-million-dollar palace drama that was said to be China’s priciest production to date. “In this era of worshipping gold, who is still interested in good people?” Jia said to reporters. In response, Zhang’s producer was quoted as saying that Jia was “sick with revenge against the rich.”\n“Still Life” did poorly in Chinese theatres, just as Jia expected. Two years later, he remains embittered, and is especially critical of Zhang Yimou’s coziness with the Chinese government. (In 2002, Zhang premièred his martial-arts film “Hero” at the Great Hall of the People, the home of the Party-run legislature, and he designed the opening ceremony of the 2008 Beijing Olympics.) “Since ‘Hero,’ I have not liked his films,” Jia told me one night as we sat in the lobby of a multiplex, between screenings. “Not because they are kung-fu movies—I like kung-fu movies—but because the film underscores power, that we should ‘bow down’ before power! For ‘harmony in the world,’ we should give up individual fights and efforts. The ‘authority of power,’ the focus of his films, is what makes me extremely uncomfortable.”\nAfter the host gave a routine round of praise, the first question from the audience asked Jia, pointedly, “Was the decision to use movie stars made with the market in mind?” Another questioner asked if Jia had avoided harder-hitting stories of truly abject poverty because he wouldn’t get them approved. In an armchair onstage, Jia pursed his lips and looked wounded. “If this group is marginalized,” he said, “then their faces, their language, their food, their living conditions, their homes, their expressions—all of that—is erased from the screen, to zero. Anything I can do to hold on to them and make people see them onscreen is the most important thing I can do! Otherwise, they’re silenced!”\nWhen I asked Zhang Xianmin, a well-known independent filmmaker who teaches at Beijing Film Academy, to sum up his disaffection with Jia’s career path, he said, “There is a phase when Jia’s subject was the absolute pursuit of freedom. But I think, quite clearly, that period finished with ‘Unknown Pleasures’ ”—the last film that Jia made without government approval.\nAs Zhang sees it, Jia’s decision to seek theatrical release and submit to censorship has ceded the vanguard of China’s most politically challenging cinema to a new crop of filmmakers, who work with low-cost digital equipment and never bother to seek government approval. Those films are shown overseas and at a series of low-profile but thriving festivals in China. Typical of this new batch are documentaries such as Zhao Liang’s “Crime and Punishment,” about interrogation tactics at a remote police station, and Zhao Dayong’s “Ghost Town,” which records the poverty and cultural desolation of a mountain village far from China’s boomtowns.\nMost of those films have such tiny audiences that authorities rarely bother to interfere, except when the subject is acutely sensitive. When YunFest, a festival in Yunnan Province, scheduled a screening last year of “Though I Am Gone,” a low-budget historical documentary about a schoolteacher in Beijing who was beaten to death by Red Guards during the Cultural Revolution, authorities, at the last minute, pressured organizers to postpone the festival. (It later convened and showed the film in another city in Yunnan.) In the past, the maker of that film, Hu Jie, has described being visited by state security agents who asked about his work, yet, in a sign of how China’s control of filmmaking has slackened from a decade ago, Hu has continued to make films.\nLikewise, China’s bans on filmmakers are not what they once were. The prominent director Lou Ye was banned from filmmaking for five years after “Summer Palace” (2006), a sexually explicit drama set amid the Tiananmen Square demonstrations, was submitted at Cannes before receiving government approval. And yet, midway through the ban, Lou is hard at work; his latest film, “Spring Fever,” is slated to appear in May at Cannes.\nChinese authorities seem to have concluded that art films, screened at festivals for urbane, like-minded audiences, have limited social impact. And, in a sense, Jia has reached the same conclusion. He believes his social critique is strongest not as a protester on the sidelines but as a legal—and marketable—filmmaker. “If we keep filming ordinary workers, that will heighten sympathy and concern for them, and they, in turn, will get closer to freedom,” Jia told me. “In the early eighties, many directors made films about women’s rights—about their confinement, their unhappy marriages—and, through those films, Chinese people realized that women must be respected and treated equally.” Yu, the cinematographer, summed up Jia’s strategy for addressing sensitive issues as “the intelligence to be politically critical but in a more discreet sense.”\nJia is an auteur with aspirations of populism. (“It’s part of a director’s job to communicate his works to others,” he told me.) But it’s not yet clear if he can win China’s audience away from martial-arts extravaganzas and mindless comedies without losing the artistic and political energy that got him where he is. By March, with “24 City” still in theatres, he was immersed in his next projects: a historical documentary about Shanghai and a feature, a kung-fu movie set at the turn of the twentieth century—or, as he called it, “an anti-kung-fu movie.” (“In most movies, kung fu is all-powerful, but in my film it’s getting weaker and weaker,” he said.) After more than a decade of chronicling contemporary China, he is increasingly focussed on correcting distortions of Chinese history, even if that is guaranteed to draw official scrutiny. “Topics like the Cultural Revolution, June Fourth, and the anti-rightist campaign are not permitted to be made into films,” he told me. “But those incidents affect China today. People are forgetting them. Today’s young people don’t even know what happened. On one hand, I want to record what’s happening in China now, but I feel an urgent need to know more about history.”\nJia’s plans seemed destined to attract criticism: from the government, for exploring China’s most sensitive historical chapters, and from art-film fans, for making a kung-fu movie. He hardly seems to mind. He has come to inhabit a limbo of his own making, and that status has put him at odds with both worlds. “My expression, my view on history, my view on the truth must be independent,” he says, “but I tell myself not to get marginalized, because being marginalized means you can’t do anything. Marginalization can be a kind of pleasant stance—I really admire many of those people—but I would rather expend enormous energy trying to dance with the many levels of the era in which we live.” ♦","isBasedOn":"https://www.newyorker.com/magazine/2009/05/11/the-long-shot","articleSection":"a reporter at large","author":[{"@type":"Person","name":"Evan Osnos","sameAs":"https://www.newyorker.com/contributors/evan-osnos"}],"dateModified":"2009-05-04T00:00:00.000-04:00","datePublished":"2009-05-03T20:00:00.000-04:00","headline":"The Long Shot","image":["https://media.newyorker.com/photos/590975d7ebe912338a377ade/master/w_646,h_859,c_limit/090511_r18448_p646.jpg"],"keywords":["a reporter at large","24 city","censorship","china","chinese","hero","jia zhangke","movie directors","platform","robert bresson","still life","the world","three gorges dam","magazine"],"thumbnailUrl":"","url":"https://www.newyorker.com/magazine/2009/05/11/the-long-shot","isPartOf":{"@type":"CreativeWork","name":"The New 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class="ArticlePageLedeBackground-EufvU ittFsh"><header class="ContentHeaderWrapper-clujbs bhNIJY content-header article__content-header"><div data-testid="ContentHeaderContainer" class="ContentHeaderContainer-cGKRbE knDxNq"><div class="ContentHeaderHedAccreditationWrapper-GFiQf cDNVlV"><div data-testid="ContentHeaderTitleBlockWrapper" class="ContentHeaderTitleBlockWrapper-cjmSKp eKCYkz"><div data-testid="ContentHeaderRubric" class="ContentHeaderRubricBlock-LmpbT iaArlP"><div data-testid="ContentHeaderRubricDateBlock" class="ContentHeaderRubricDateBlock-kAQcZP fTFWxD"><div class="RubricWrapper-dKmCNX cXTooZ rubric ContentHeaderRubricContainer-eTudtt iRsSlw"><a class="RubricLink-gRWSOU fgWnkQ rubric__link" href="/magazine/a-reporter-at-large"><span class="RubricName-fVtemz cLxcNi rubric__name">A Reporter at Large</span></a></div></div></div><h1 data-testid="ContentHeaderHed" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ ContentHeaderHed-NCyCC iUEiRd kOQxwh hpJvIc">The Long Shot</h1></div><div class="ContentHeaderAccreditation-lfctVB cKRKZx content-header__accreditation" data-testid="ContentHeaderAccreditation"><div class="ContentHeaderByline-kmPyCa gvUmxJ"><span class="SpanWrapper-umhxW jvZaPI responsive-asset ContentHeaderContributorImage-cvjZXn jKACOU"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa ContentHeaderContributorImage-cvjZXn jKACOU responsive-image"><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/59097b75c14b3c606c109454/1:1/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/59097b75c14b3c606c109454/1:1/w_240,c_limit/undefined 240w" sizes="66px"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/59097b75c14b3c606c109454/1:1/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/59097b75c14b3c606c109454/1:1/w_240,c_limit/undefined 240w" sizes="66px"/><img alt="" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/59097b75c14b3c606c109454/1:1/w_270%2Cc_limit/undefined"/></picture></span><div class="ContentHeaderBylineContent-dpPmNn DRFq"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk jYjxgY bylines ContentHeaderBylines-cZqgyJ bqbBYQ"><span class="BylineWrapper-jWHrLH fvlutP byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">By </span><a class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLink-eNWuiM BylineLink-gEnFiw iUEiRd dTCiYp bVAERN eErqIx byline__name-link button" href="/contributors/evan-osnos">Evan Osnos</a></span></span></span></div><time data-testid="ContentHeaderPublishDate" dateTime="2009-05-04T00:00:00-04:00" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ ContentHeaderPublishDate-eIBicG iUEiRd hkjWCS kEBrdf">May 4, 2009</time></div></div></div></div><div class="LightboxWrapper-dxsWBV hhylRt"><div class="ContentHeaderLeadAsset-hGbumP iWPCcH lead-asset ContentHeaderLeadAssetWrapper-hfXHEc fTrSlG lead-asset--width-smallrule" data-testid="ContentHeaderLeadAsset"><figure class="ContentHeaderLeadAssetContent-kOfYSG dRGWbI"><div class="ContentHeaderLeadAssetContentMedia-bLEIpi jjhWdS lead-asset__content__photo"><span class="SpanWrapper-umhxW jvZaPI responsive-asset ContentHeaderResponsiveAsset-bREgIb khLUzS"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz gGYica"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO KhjZz ContentHeaderResponsiveAsset-bREgIb khLUzS responsive-image responsive-image--expandable" tabindex="0" role="button"><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/590975d7ebe912338a377ade/master/w_120,c_limit/090511_r18448_p646.jpg 120w, https://media.newyorker.com/photos/590975d7ebe912338a377ade/master/w_240,c_limit/090511_r18448_p646.jpg 240w, https://media.newyorker.com/photos/590975d7ebe912338a377ade/master/w_320,c_limit/090511_r18448_p646.jpg 320w, https://media.newyorker.com/photos/590975d7ebe912338a377ade/master/w_640,c_limit/090511_r18448_p646.jpg 640w, https://media.newyorker.com/photos/590975d7ebe912338a377ade/master/w_960,c_limit/090511_r18448_p646.jpg 960w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/590975d7ebe912338a377ade/master/w_120,c_limit/090511_r18448_p646.jpg 120w, https://media.newyorker.com/photos/590975d7ebe912338a377ade/master/w_240,c_limit/090511_r18448_p646.jpg 240w, https://media.newyorker.com/photos/590975d7ebe912338a377ade/master/w_320,c_limit/090511_r18448_p646.jpg 320w, https://media.newyorker.com/photos/590975d7ebe912338a377ade/master/w_640,c_limit/090511_r18448_p646.jpg 640w, https://media.newyorker.com/photos/590975d7ebe912338a377ade/master/w_960,c_limit/090511_r18448_p646.jpg 960w, https://media.newyorker.com/photos/590975d7ebe912338a377ade/master/w_1280,c_limit/090511_r18448_p646.jpg 1280w, https://media.newyorker.com/photos/590975d7ebe912338a377ade/master/w_1600,c_limit/090511_r18448_p646.jpg 1600w, https://media.newyorker.com/photos/590975d7ebe912338a377ade/master/w_1920,c_limit/090511_r18448_p646.jpg 1920w, https://media.newyorker.com/photos/590975d7ebe912338a377ade/master/w_2240,c_limit/090511_r18448_p646.jpg 2240w" sizes="100vw"/><img alt="Jia Zhangkes films explore the lives of people trapped on the margins of Chinas boom." class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/590975d7ebe912338a377ade/master/w_2560%2Cc_limit/090511_r18448_p646.jpg"/></picture></div></div></span><div class="CaptionWrapper-jSZdqE koIZQP caption ContentHeaderLeadAssetCaption-hPWmSN kuCzGS" data-testid="caption-wrapper"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptionText-bHjzlu iUEiRd xOinq iXWezO caption__text">Jia Zhangke’s films explore the lives of people trapped on the margins of China’s boom.</span><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptionCredit-ejegDm iUEiRd bibEBd kboznU caption__credit">Photograph by Andrew Rowat</span></div></div></figure><div data-testid="ContentHeaderLeadRailAnchor" class="ContentHeaderLeadRailAnchor-jYVcDc djtEof"></div></div></div></div></header></div><div data-attribute-verso-pattern="article-body" class="ArticlePageContentBackGround-cNiFNN bIesAh article-body__content"><div class="ActionBarWrapperContent-lasBkU jrRtuw"><div class="ActionBarWrapperComponent-cjwxLS bEeSLb"><div data-attr-viewport-monitor="" class="ActionBarWrapper-dhxmQh hDHofQ viewport-monitor-anchor"><button id="bookmark" aria-label="Save this story" 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data-journey-hook="client-content" data-testid="BodyWrapper"><div class="body__inner-container"><p class="has-dropcap has-dropcap__lead-standard-heading">Just after dawn on a frigid plateau in northern China, the director Jia Zhangke was having trouble with a scene involving a fire-breather. The fireballs were coming out of the man’s mouth a foot too low, and were obscuring other faces in the shot. This was Jia’s inaugural effort at fashion photography. Twelve years after he débuted, with “Xiao Wu,” his award-winning student feature about a pickpocket, Jia had been hired by the Chinese edition of <em>Esquire</em> to shoot a spread called “Beijing Spring.” It was to be a fantastical homage to his aesthetic, with characters inspired by his films mingled among curiosities. The magazine had brought Jia and his crew back to the coal country of Shanxi Province, where he grew up and shot his first films.</p><p class="paywall">After the third unsatisfying take, Jia jogged out from behind the camera and, with a gloved hand, traced an imaginary target high above the head of an actress dressed as a clown. The fire-breather, who was on loan from a local theatre troupe, nodded and took another swig of kerosene.</p><p class="paywall">At thirty-nine, Jia is five feet four and slight. Enveloped in an olive-green parka and black scarf, he walked around the set with his hands plunged deep into his pants pockets, giving him the bearing of a kid skipping school. He was composing the day’s first scene in the shadows beneath a highway overpass, with gangly models positioned among circus characters. The models shivered in parkas and Ugg boots until the final seconds before each shot, when they shed their coats and squeezed their feet into stilettos. Forty-eight hours earlier, Jia had been under palm trees at a gala hosted by the Los Angeles Film Critics Association. “We ate a meal, picked up our awards, and got back on the plane,” he told me. He received awards for Best Foreign-Language Film and for Best Cinematography for “Still Life,” his drama about the social and physical demolition wrought by China’s Three Gorges Dam. (“Still Life” had also received the top prize at the Venice International Film Festival in 2006, and prompted Manohla Dargis, of the <em>Times</em>, to declare Jia “among the most strikingly gifted filmmakers working today whom you have probably never heard of.”)</p><div></div><div></div><p class="paywall">Jia’s latest feature, “24 City,” an unusual blend of documentary and fiction which tells the story of a factory closing, was set to première in a month in nearly a hundred theatres across China, one of his largest releases yet. The movie had screened at Cannes nearly a year earlier, but since then Jia had been negotiating with Chinese censors about how much he would be forced to cut in order to release it in China. (About two minutes, it turned out, including a scene of workers singing a desultory rendition of the “Internationale.”) In a few weeks, he would release his first book, “Jia Xiang” (“Jia Thinks”), a collection of essays and interviews, followed two weeks later by a second book, a compilation of interviews he has conducted with laborers. Before the end of the year, he is scheduled to begin shooting two new films, and next spring he is slated to be in New York, where the Museum of Modern Art is preparing a full retrospective of his work, the first in more than twenty years that it has devoted to a mainland-Chinese filmmaker, and a remarkable milestone for someone his age. His calendar is booked through 2013.</p><p class="paywall">On the political spectrum of Chinese filmmakers, Jia is difficult to place. Neither a dissident nor an entertainer, he makes films that are archly political but sufficiently oblique to obtain theatrical release. The Chinese government is particularly sensitive this year, because it is the twentieth anniversary of the crackdown on demonstrators at Tiananmen Square. Jia’s <em>Esquire</em> spread was designed to look like the nineteen-eighties. When I asked, “What’s with all the fire?” he broke into a mischievous grin and said, “The eighties had a few fires.”</p><p class="paywall">Once more, the models shed their coats, and behind them a crew member touched a lighter to an abandoned car drenched in gasoline, and it erupted in flames. The air reeked of hair spray and motor oil. Jia spun around to hustle out of the shot before the flames died down. “Camera! O.K., ready! Go!” It was splendidly bizarre.</p><div><div class="ConsumerMarketingUnitThemedWrapper-iUTMTf jssHut consumer-marketing-unit consumer-marketing-unit--article-mid-content" role="presentation" aria-hidden="true"><div class="consumer-marketing-unit__slot consumer-marketing-unit__slot--article-mid-content consumer-marketing-unit__slot--in-content"></div><div class="journey-unit"></div></div></div><p class="paywall">Jia would not have had much use for pyrotechnics a few years ago, when he was known for a near-evangelical fidelity to realism. Once, in a student film, he had featured a wordless seven-minute sequence of a man walking on a Beijing street, in order to subject the audience to what he called “a staring test.” His films are so subdued—nonviolent and virtually sexless, filled with long shots, long takes, and restrained dialogue—that when the actress Zhao Tao showed her family “Platform,” her first movie, her parents fell asleep. Yet when Martin Scorsese happened upon a tape of “Xiao Wu,” a decade ago, he experienced what he described to me as “a visceral reaction,” explaining, “The real test of a film is when I look at it—not knowing where it came from, not knowing anything about it—and suddenly you want to make movies again. I think this is really what happened.” Scorsese went on, “It was just so moving, so moving, and so rigorously made.”</p><p class="paywall">Jia works best at night. On set, he has been known to shoot until dawn. He lives by himself in a two-bedroom apartment in central Beijing, but he is rarely at home. (His seven-year marriage to Zhu Jiong, a professor at the Beijing Film Academy, ended in 2006, though she has continued to work as a producer on his films.) He spends most of his time at his studio, in a drab apartment compound near the Beijing Film Academy, where he once studied. The studio has several low-ceilinged offices branching off a main room furnished with Ikea-style desks and chairs. It carries the hint of a boiler-room operation that could be dismantled in a hurry, and seems well-suited to his belief that, even after living in Beijing nearly half his life, he is an interloper. Shanxi Province is “my true China,” he says. “My focus, my concern, my emotional world is there. Beijing is the city where I work and plan films.”</p><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContainer-eJxoAx dBHGoQ asset-embed__asset-container"><span class="SpanWrapper-umhxW kKwZhx responsive-asset AssetEmbedResponsiveAsset-cXBNxi eCxVQK asset-embed__responsive-asset"><div data-attr-viewport-monitor="" class="ResponsiveCartoonWrapper-iTMMjI eXTYsS responsive-cartoon AssetEmbedResponsiveAsset-cXBNxi eCxVQK asset-embed__responsive-asset viewport-monitor-anchor"><a class="external-link responsive-cartoon__image-link" data-event-click="{"element":"ExternalLink","outgoingURL":"https://www.newyorker.com/cartoon/a14057"}" href="https://www.newyorker.com/cartoon/a14057" rel="nofollow noopener" target="_blank"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa ResponsiveCartoonImage-hzNqyc ikeCcH responsive-cartoon__image responsive-image"><noscript><img alt="“Frankly Dolores Im tired of being your piñata.”" 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sizes="100vw"/></noscript></picture></a><div class="CaptionWrapper-jSZdqE yJskm caption ResponsiveCartoonCaption-dokfdF cXfPNO responsive-cartoon__caption" data-testid="caption-wrapper"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptionText-bHjzlu iUEiRd xOinq bsWloa caption__text">“Frankly, Dolores, I’m tired of being your piñata.”</span></div><div class="ResponsiveCartoonCTA-eiqqMB iDCQRs"><div class="ResponsiveCartoonCTAWrapper-CYIqa iTbFtf"><div class="ResponsiveCartoonLinkButtonWrapper-hqDAJK eSEhbj"><button aria-label="Copy link to cartoon" class="BaseButton-bLlsy ButtonWrapper-xCepQ bqVKKv ldaQAm button button--primary-pair ResponsiveCartoonIconButton-hBCBMq iRLdPE" data-event-click="{"element":"Button"}" data-testid="Button" type="button"><span class="ButtonLabel-cjAuJN bBWXSg button__label">Copy link to cartoon</span><div class="ButtonIconWrapper-gFdzAL bPDyTT button__icon-container"><svg class="icon icon-copylink" width="32" height="32" viewBox="0 0 32 32" fill="none" xmlns="http://www.w3.org/2000/svg"><title>Copy link to cartoon</title><g clip-path="url(#clip0_3732_178637)"><path d="M22.654 13.67a.752.752 0 0 0 .284 1.039.787.787 0 0 0 1.063-.279l1.944-3.295c1.718-2.913.699-6.637-2.277-8.318-2.976-1.682-6.782-.684-8.5 2.229l-3.111 5.273c-1.718 2.912-.699 6.636 2.277 8.318.293.165.594.304.9.418a.694.694 0 0 0 .833-.311c.256-.434-.006-.99-.476-1.19a4.745 4.745 0 0 1-.479-.236c-2.232-1.26-2.997-4.054-1.708-6.238l3.111-5.273c1.289-2.185 4.143-2.933 6.375-1.672s2.997 4.054 1.708 6.239l-1.944 3.295ZM9.126 18.33a.752.752 0 0 0-.284-1.04.787.787 0 0 0-1.063.28l-1.944 3.296c-1.719 2.912-.699 6.636 2.277 8.317 2.976 1.682 6.782.684 8.5-2.229l3.111-5.273c1.718-2.912.699-6.636-2.277-8.318a6.327 6.327 0 0 0-.9-.419.694.694 0 0 0-.833.312c-.256.434.007.99.476 1.19.162.069.322.147.479.236 2.232 1.26 2.997 4.054 1.708 6.238l-3.111 5.273c-1.289 2.184-4.143 2.933-6.375 1.672s-2.997-4.054-1.708-6.238l1.944-3.296Z" fill="#000"></path></g><defs><clipPath id="clip0_3732_178637"><rect width="32" height="32" fill="white"></rect></clipPath><clipPath id="clip1_3732_178637"><rect width="32" height="32" fill="white"></rect></clipPath></defs></svg></div></button><div class="AlertWrapper-gvFATk cuesfH ResponsiveCartoonLinkAlertPopup-BPAXn jeGqZC shopping-alert" role="dialog"><div aria-hidden="true" role="presentation" class="AlertArrow-daOgye AlLda alert-arrow"></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ AlertMessage-jgAjgo bVCFRm iLIyQu jodGBg alert-message"><p aria-hidden="true">Link copied</p></div></div></div><button aria-label="Shop" class="BaseButton-bLlsy ButtonWrapper-xCepQ bqVKKv ldaQAm button button--primary-pair ResponsiveCartoonIconButton-hBCBMq iRLdPE" data-event-click="{"element":"Button"}" data-testid="Button" type="button"><span class="ButtonLabel-cjAuJN bBWXSg button__label">Shop</span><div class="ButtonIconWrapper-gFdzAL bPDyTT button__icon-container"><svg class="icon icon-cart" width="32" height="32" viewBox="0 0 32 32" fill="none" xmlns="http://www.w3.org/2000/svg"><title>Shop</title><g clip-path="url(#clip0_3732_178638)"><path d="M2 3h4l4 17h15l4-13H14" stroke="#000" stroke-width="1.5" stroke-linejoin="round" style="fill:none"></path><circle cx="2" cy="2" r="2" transform="matrix(1 0 0 -1 11 29)" stroke="#000" stroke-width="1.5"></circle><circle cx="2" cy="2" r="2" transform="matrix(1 0 0 -1 20 29)" stroke="#000" stroke-width="1.5"></circle></g><defs><clipPath id="clip0_3732_178638"><rect width="32" height="32" fill="white"></rect></clipPath><clipPath id="clip1_3732_178638"><rect width="32" height="32" fill="white"></rect></clipPath></defs></svg></div></button></div></div></div></span></div></figure><p class="paywall">Jia’s relations with the government are tepid. He coöperates with China’s state-run studios for distribution but not for financial backing. He relies on private investors in China, Japan, Hong Kong, and Europe. He also makes an average of ten commercials a year, for Olay, China Mobile, and others.</p><p class="paywall">Jia is not much interested in plot. His attraction to film seems to owe more to the dictum of André Bazin, the French theorist whom he counts as an inspiration, that photography “embalms time.” Jia crams his movies with so many hair styles, pop songs, and news references that they feel like time capsules of the here and now. He has a single, unwavering theme: the liminal space in which individuals try, usually in vain, to move from one life to another—floating migrants, laid-off factory hands, restless teen-agers, all trapped on the margins of China’s boom, with enough technology to glimpse the wider world but no way to reach it. In Jia’s cosmology, trains usually speed out of sight before you can catch them and motorcycles break down. His characters are often inspired by people he grew up with—friends, in his words, “as ignorant and coarse and full of vitality as roadside weeds.” (Before I visited Jia in Shanxi, my only previous trip to the province had been to write about a nearby city that had been ranked as China’s most polluted place. When I asked why the apples on the trees there were covered in plastic bags, a farmer explained that it was to keep them from being stained by the air.)</p><div class="Container-hnJNtl gxMaIG"></div><p class="paywall">Late in the afternoon of the <em>Esquire</em> shoot, Jia and company had moved to a gymnasium, where a few dozen college students were costumed in Mao suits and eighties-style double-breasted jackets. Somewhere in the crowd Jia spotted a pair of modern sneakers, and he stalked over. “Who else is wearing the wrong shoes?” he demanded. “You are all university students! You are capable of checking yourselves!”</p></div></div></div></div><div data-testid="RowWrapper" class="BaseWrap-sc-gjQpdd RowWrapper-UmqTg iUEiRd HEhan full-bleed-ad row-mid-content-ad"><div class="StickyMidContentAdWrapper-fSBzwl drzyIa ad-stickymidcontent"><div class="AdWrapper-dQtivb fZrsta ad ad--mid-content should-hold-space"><div class="ad__slot ad__slot--mid-content" data-node-id="6svo2u"></div></div></div></div><div class="GridWrapper-cAzTTK sjrqk grid grid-margins grid-items-2 ArticlePageChunksGrid-hfxaau eSqXkM grid-layout--adrail narrow wide-adrail"><div class="GridItem-buujkM stRKV grid--item grid-layout__content"><div class="BodyWrapper-kufPGa isZwGb body body__container article__body" data-journey-hook="client-content" data-testid="BodyWrapper"><div class="body__inner-container"><p class="paywall">He glanced at his watch. They were behind schedule and would be skipping dinner. He had been exacting all day, doing so many takes that, at one point, one of the models grumbled to another, “I’ve never seen someone take pictures so slowly.”</p><p class="paywall">Watching from the side was Zhao Hai, an old friend of Jia’s from middle school who does odd jobs around the set when Jia is back in town. At Fenyang Middle School, they had been among the founding members of a school poetry society they called the Raspy Division, after the new sound of rock and roll.</p><p class="paywall">“Of the seven of us, he was the best. He had natural ability,” Zhao said. They had published their work in pamphlets cranked out in batches of a hundred on a mimeograph. The poems were hardly subversive stuff—matters of the heart were a recurring theme—but in the stifling confines of their school, Zhao said, they were “a sensation at the time. We were sort of celebrities on campus.”</p><p class="paywall">Unlike Jia, Zhao never left Shanxi. He works as a graphic designer today and looks older than his years, with white streaks in his hair and a weary expression on his face. “We were all quite talented, but he had persistence,” Zhao said. “For a kid from a small town to become a film director? That’s a distant dream.”</p><p class="has-dropcap has-dropcap__lead-standard-heading paywall">Jia was barely old enough to walk when his mother nicknamed him Lailai—the little scoundrel. Compared with his sister Zhang Hong—a well-behaved violinist, six years older—Jia was a precocious connoisseur of the street. “Life had so little content, so little entertainment,” he says, that “fighting became entertainment. I would go to the bus station near my home, where fights happened every day. You just waited there, and something was guaranteed to happen. Somebody’s head would get busted, and then I would follow them to the hospital to watch them get bandaged. That’s how bored we were.” He became obsessed with escaping Fenyang. When he was old enough to ride a bike, he cycled ten miles just to catch a glimpse of a passing train, which looked to him like a symbol of “the faraway world, the future, hope.” He did not see an ocean until he was twenty-six.</p><p class="paywall">His family, though not impoverished, was underfed. They relied so much on cheap sweet potatoes one winter that he still can’t stomach them. Jia’s mother, Zhang Ruiying, worked the counter at a state-run distributor of sugar, cigarettes, and liquor—the rare luxuries of village life. Jia’s father, Jia Liankai, the son of a surgeon, had not been allowed to go to college, because he was classified as a “landlord”; he cultivated a quiet, anonymous life as a local schoolteacher. Even so, Jia Liankai could not escape politics. Once, the school was ordered to meet a quota of identifying three “rightists” among its teachers. “The principal found a way to decide who was a rightist: all the teachers were told to stand on a platform in the playground, shoving each other. The first three who fell to the ground were the ‘rightists,’ ” Jia Zhangke said. “When my father told me this story, many years later, I could still see the fear in his eyes.” Jia’s father wrote poems, which Jia didn’t read until years later. Every one of them, he discovered, was an ode to a political movement, as if his father had assumed that someone would inevitably try to use them against him.</p><p class="paywall">As a teen-ager, in the eighties, Jia revelled in China’s sudden influx of new pop culture. He rode the bus for four hours to buy a cassette of Teresa Teng, the empress of Taiwanese love ballads. It felt gloriously subversive, and he eventually sought to capture, in his films, the transformative power of music and imagery. “Before that, the songs we sang were ‘We Are the Heirs of Communism’ and ‘We Workers Have Power.’ It was always ‘we.’ But in Teresa Teng’s song, ‘The Moon Represents My Heart,’ it was about ‘me.’ So, of course, we loved it!”</p><p class="paywall">His favorite movie was “Breakin’ ”(1984), a breathtakingly campy break-dancing drama inspired by “West Side Story.” “I watched it seven or eight times. I taught myself the moves,” he said, and he put his skills to use one summer with an itinerant song-and-dance troupe. He graduated from high school the same spring as the Tiananmen Square demonstrations, known in China as the events of June Fourth. The protests were distant, and clouded in official condemnations, but the movement made a searing impression on him. “Although it failed, it didn’t really fail,” he said, “because it took freedom and democracy, individualism, individual rights, all these concepts, and disseminated them to many people, including me.”</p><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContainer-eJxoAx dBHGoQ asset-embed__asset-container"><span class="SpanWrapper-umhxW kKwZhx responsive-asset AssetEmbedResponsiveAsset-cXBNxi eCxVQK asset-embed__responsive-asset"><div data-attr-viewport-monitor="" class="ResponsiveCartoonWrapper-iTMMjI eXTYsS responsive-cartoon AssetEmbedResponsiveAsset-cXBNxi eCxVQK asset-embed__responsive-asset viewport-monitor-anchor"><a class="external-link responsive-cartoon__image-link" data-event-click="{"element":"ExternalLink","outgoingURL":"https://www.newyorker.com/cartoon/a13994"}" href="https://www.newyorker.com/cartoon/a13994" rel="nofollow noopener" target="_blank"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa ResponsiveCartoonImage-hzNqyc ikeCcH responsive-cartoon__image responsive-image"><noscript><img alt="The Long Shot" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/cartoons/593b6627c195de33cba5919a/master/w_1600%2Cc_limit/090511_a13994_p465.jpg" srcSet="https://media.newyorker.com/cartoons/593b6627c195de33cba5919a/master/w_120,c_limit/090511_a13994_p465.jpg 120w, https://media.newyorker.com/cartoons/593b6627c195de33cba5919a/master/w_240,c_limit/090511_a13994_p465.jpg 240w, https://media.newyorker.com/cartoons/593b6627c195de33cba5919a/master/w_320,c_limit/090511_a13994_p465.jpg 320w, https://media.newyorker.com/cartoons/593b6627c195de33cba5919a/master/w_640,c_limit/090511_a13994_p465.jpg 640w, https://media.newyorker.com/cartoons/593b6627c195de33cba5919a/master/w_960,c_limit/090511_a13994_p465.jpg 960w, 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clip-path="url(#clip0_3732_178637)"><path d="M22.654 13.67a.752.752 0 0 0 .284 1.039.787.787 0 0 0 1.063-.279l1.944-3.295c1.718-2.913.699-6.637-2.277-8.318-2.976-1.682-6.782-.684-8.5 2.229l-3.111 5.273c-1.718 2.912-.699 6.636 2.277 8.318.293.165.594.304.9.418a.694.694 0 0 0 .833-.311c.256-.434-.006-.99-.476-1.19a4.745 4.745 0 0 1-.479-.236c-2.232-1.26-2.997-4.054-1.708-6.238l3.111-5.273c1.289-2.185 4.143-2.933 6.375-1.672s2.997 4.054 1.708 6.239l-1.944 3.295ZM9.126 18.33a.752.752 0 0 0-.284-1.04.787.787 0 0 0-1.063.28l-1.944 3.296c-1.719 2.912-.699 6.636 2.277 8.317 2.976 1.682 6.782.684 8.5-2.229l3.111-5.273c1.718-2.912.699-6.636-2.277-8.318a6.327 6.327 0 0 0-.9-.419.694.694 0 0 0-.833.312c-.256.434.007.99.476 1.19.162.069.322.147.479.236 2.232 1.26 2.997 4.054 1.708 6.238l-3.111 5.273c-1.289 2.184-4.143 2.933-6.375 1.672s-2.997-4.054-1.708-6.238l1.944-3.296Z" fill="#000"></path></g><defs><clipPath id="clip0_3732_178637"><rect width="32" height="32" fill="white"></rect></clipPath><clipPath id="clip1_3732_178637"><rect width="32" height="32" fill="white"></rect></clipPath></defs></svg></div></button><div class="AlertWrapper-gvFATk cuesfH ResponsiveCartoonLinkAlertPopup-BPAXn jeGqZC shopping-alert" role="dialog"><div aria-hidden="true" role="presentation" class="AlertArrow-daOgye AlLda alert-arrow"></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ AlertMessage-jgAjgo bVCFRm iLIyQu jodGBg alert-message"><p aria-hidden="true">Link copied</p></div></div></div><button aria-label="Shop" class="BaseButton-bLlsy ButtonWrapper-xCepQ bqVKKv ldaQAm button button--primary-pair ResponsiveCartoonIconButton-hBCBMq iRLdPE" data-event-click="{"element":"Button"}" data-testid="Button" type="button"><span class="ButtonLabel-cjAuJN bBWXSg button__label">Shop</span><div class="ButtonIconWrapper-gFdzAL bPDyTT button__icon-container"><svg class="icon icon-cart" width="32" height="32" viewBox="0 0 32 32" fill="none" xmlns="http://www.w3.org/2000/svg"><title>Shop</title><g clip-path="url(#clip0_3732_178638)"><path d="M2 3h4l4 17h15l4-13H14" stroke="#000" stroke-width="1.5" stroke-linejoin="round" style="fill:none"></path><circle cx="2" cy="2" r="2" transform="matrix(1 0 0 -1 11 29)" stroke="#000" stroke-width="1.5"></circle><circle cx="2" cy="2" r="2" transform="matrix(1 0 0 -1 20 29)" stroke="#000" stroke-width="1.5"></circle></g><defs><clipPath id="clip0_3732_178638"><rect width="32" height="32" fill="white"></rect></clipPath><clipPath id="clip1_3732_178638"><rect width="32" height="32" fill="white"></rect></clipPath></defs></svg></div></button></div></div></div></span></div></figure><p class="paywall">Two years later, while studying oil painting in Taiyuan, Jia saw the film “Yellow Earth,” by Chen Kaige, which was set on China’s northern plains, close to where Jia grew up. For the first time, he imagined that film could be a way to render the world he knew, and he applied to the Beijing Film Academy. He was rejected—twice. It didn’t help that he knew virtually nothing about film. “In the whole city of Taiyuan, I could find only two books on film,” he said. On his third try, Jia gave up on the directing track and shouldered his way into the academy through the back door, as an auditor in the less competitive theory program. When he arrived, in 1993, he was older than most of his classmates. To Jia, “they were all children” and he felt out of place. His country roots set him further apart from privileged urban students, who used the word “farmer” to tease one another. Jia moonlighted as a TV ghostwriter, but once went unpaid after writing a twenty-part drama, and the experience left him with “a profound suspicion of people.” On his balcony at home, he still keeps the set of cheap porcelain cups that he received as compensation for the script.</p><p class="has-dropcap has-dropcap__lead-standard-heading paywall">Jia had arrived at film school admiring the films of Chen Kaige, whose “Farewell My Concubine” (1993) had recently won the Palme d’Or at Cannes, but after watching some more high-profile period dramas he grew disenchanted with their allegories and their distance from contemporary life. The Chinese film industry was so uninspiring that audiences had largely abandoned the cinema. Lin Xudong, a documentary editor who later became one of Jia’s artistic advisers, recalled that one day he’d bought a ticket for a new film, but, after he’d taken his seat, the clerk told him it would not be screened. “Only one ticket had been sold,” he said. “If I wanted to watch the movie, I would need three people in the audience.”</p><p class="paywall">Jia immersed himself in films from Taiwan and Europe, often watching three a day. Those which he could not find in the school archives he found on the street, as pirated V.H.S. tapes. He often pedalled his bicycle across town to watch screenings at a French cultural center in Beijing. He revered Hou Hsiao-Hsien, the Taiwanese master whose long takes and wide-angle shots eventually shaped Jia’s style. He admired Vittorio De Sica and Michelangelo Antonioni, but none of those influences affected Jia as deeply as Robert Bresson, whose use of nonprofessional actors Jia first encountered in “A Man Escaped” (1956). “Bresson took plot, photography, and performance, and one by one he negated them, leaving only the purity of the film,” Jia has said. “It was the first time that I ever felt the charm of time itself, and understood a kind of transcendent amusement with the spirit of film.”</p><p class="paywall">One night, Jia and some friends were walking home from another dreary studio picture when Jia said, “Let’s make a movie—the kind of movie we want to make.” As his friend Gu Zheng later recalled, in an essay that lends the night some cinematic drama, one of them smashed a beer bottle, and it sounded, to Gu, like “our manifesto.” They named themselves the Beijing Film Academy Youth Experimental Film Group.</p><p class="paywall">Jia wrote a script called “Xiao Shan Going Home,” about a cook trying to get to Henan for Chinese New Year, and he cast his classmate Wang Hongwei in the lead. It was an improbable choice—a professor had recently pronounced Wang to be the worst actor in the class—but Jia liked Wang’s low-key approach, and he rounded out the cast with other nonprofessionals, including one guy who had to be persuaded over a bottle of Erguotou, China’s cheap grain alcohol. When they screened the film, classmates were unimpressed. They said it was crudely edited, and they disapproved of Jia’s use of regional dialects instead of standard Mandarin. (At the time, Chinese films and television were required to use standard Mandarin.) When Jia tried to screen it at Beijing Normal University, he was told that the film had “anti-social tendencies.” But a film journalist urged Jia to enter his film in the Hong Kong Independent Short Film & Video Awards. As a mainlander, Jia had had trouble meeting the eligibility requirements, and had to play up the role of a Hong Kong citizen who was part of the production in order to enter. The film took first place.</p><p class="has-dropcap has-dropcap__lead-standard-heading paywall">In Hong Kong to pick up his award, Jia met the winner of the festival’s documentary-filmmaking prize: Yu Likwai, a taciturn young man from a farming family from the outskirts of Hong Kong, who became Jia’s cinematographer. Like Jia, Yu’s path to film had been one of escape. “The train for me was a very magical machine: it took me to the city to see movies, to buy records,” Yu told me. He had gone to film school in Belgium, where he immersed himself in silent films and in the austerity and emotional detachment of European cinema. As a gift, Yu gave Jia a book on Bresson. Most important, Yu thought, they shared an approach to the business of making movies. “We are not dreamers. We are more pragmatic than other independent directors or producers,” he said, adding, “We want our movies to have visibility.”</p><p class="paywall">They headed to Shanxi to make a film, and when they reached Jia’s home town, Fenyang, Jia was overwhelmed by the changes that were unfolding. “Many of my old classmates were married with kids but now getting divorced, or they were clashing with their parents. Traditional values were crumbling. Money was at the center of everything,” he said. A classmate-turned-cop told Jia about a childhood friend, the man they called Donkey, who had ended up as a petty thief. Inspired, Jia wrote “Xiao Wu,” about a pickpocket—a subject his idol Bresson had also dealt with.</p><p class="paywall">The crew slept ten to a room in a local hostel. The set had few lights and no video monitors to show what the cameraman was filming. If that wasn’t hard enough, Jia encouraged his nonprofessional actors to veer off the script if it felt stilted, and they were so often out of position or improvising that Yu and Jia began to use long takes partly to accommodate them. As a rebuke to the polished audio tracks of other Chinese films, Jia told the sound engineer to leave in as much authentic random sound as possible—car horns, loudspeakers, pop music. The engineer finally quit, claiming that the film would tarnish her reputation.</p><p class="paywall">When “Xiao Wu” was screened in Beijing, professors at the film academy were uninterested. But other intellectuals regarded it as groundbreaking. In contrast to the epic historical Chinese dramas that were popular at the time, Jia had revealed a bitterly unadorned image of contemporary life and its discontents. To older Chinese admirers especially, the film’s honesty was bittersweet. “We had been forbidden from telling the truth for such a long time that once we were allowed to do so, we did not know how to tell the truth,” the painter Chen Danqing wrote of the film. It won awards at festivals in Berlin, Pusan, San Francisco, Vancouver, and elsewhere, but China’s censors—the State Administration of Radio, Film, and Television—were readying their response. On January 13, 1999, Chinese authorities banned Jia from making films. His name was placed on a blacklist that was circulated to equipment shops. No one would rent him a camera, and no processor would develop his film. He was twenty-nine.</p><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContainer-eJxoAx dBHGoQ asset-embed__asset-container"><span class="SpanWrapper-umhxW kKwZhx responsive-asset AssetEmbedResponsiveAsset-cXBNxi eCxVQK asset-embed__responsive-asset"><div data-attr-viewport-monitor="" class="ResponsiveCartoonWrapper-iTMMjI eXTYsS responsive-cartoon AssetEmbedResponsiveAsset-cXBNxi eCxVQK asset-embed__responsive-asset viewport-monitor-anchor"><a class="external-link responsive-cartoon__image-link" data-event-click="{"element":"ExternalLink","outgoingURL":"https://www.newyorker.com/cartoon/a14134"}" href="https://www.newyorker.com/cartoon/a14134" rel="nofollow noopener" target="_blank"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa ResponsiveCartoonImage-hzNqyc ikeCcH responsive-cartoon__image responsive-image"><noscript><img alt="“Why cant you use Facebook like everybody else”" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/cartoons/593b66295d2f45736c34cfb2/master/w_1600%2Cc_limit/090511_a14134_p465.jpg" srcSet="https://media.newyorker.com/cartoons/593b66295d2f45736c34cfb2/master/w_120,c_limit/090511_a14134_p465.jpg 120w, https://media.newyorker.com/cartoons/593b66295d2f45736c34cfb2/master/w_240,c_limit/090511_a14134_p465.jpg 240w, https://media.newyorker.com/cartoons/593b66295d2f45736c34cfb2/master/w_320,c_limit/090511_a14134_p465.jpg 320w, https://media.newyorker.com/cartoons/593b66295d2f45736c34cfb2/master/w_640,c_limit/090511_a14134_p465.jpg 640w, https://media.newyorker.com/cartoons/593b66295d2f45736c34cfb2/master/w_960,c_limit/090511_a14134_p465.jpg 960w, https://media.newyorker.com/cartoons/593b66295d2f45736c34cfb2/master/w_1280,c_limit/090511_a14134_p465.jpg 1280w, https://media.newyorker.com/cartoons/593b66295d2f45736c34cfb2/master/w_1600,c_limit/090511_a14134_p465.jpg 1600w" sizes="100vw"/></noscript></picture></a><div class="CaptionWrapper-jSZdqE yJskm caption ResponsiveCartoonCaption-dokfdF cXfPNO responsive-cartoon__caption" data-testid="caption-wrapper"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptionText-bHjzlu iUEiRd xOinq bsWloa caption__text">“Why can’t you use Facebook, like everybody else?”</span></div><div class="ResponsiveCartoonCTA-eiqqMB iDCQRs"><div class="ResponsiveCartoonCTAWrapper-CYIqa iTbFtf"><div class="ResponsiveCartoonLinkButtonWrapper-hqDAJK eSEhbj"><button aria-label="Copy link to cartoon" class="BaseButton-bLlsy ButtonWrapper-xCepQ bqVKKv ldaQAm button button--primary-pair ResponsiveCartoonIconButton-hBCBMq iRLdPE" data-event-click="{"element":"Button"}" data-testid="Button" type="button"><span class="ButtonLabel-cjAuJN bBWXSg button__label">Copy link to cartoon</span><div class="ButtonIconWrapper-gFdzAL bPDyTT button__icon-container"><svg class="icon icon-copylink" width="32" height="32" viewBox="0 0 32 32" fill="none" xmlns="http://www.w3.org/2000/svg"><title>Copy link to cartoon</title><g clip-path="url(#clip0_3732_178637)"><path d="M22.654 13.67a.752.752 0 0 0 .284 1.039.787.787 0 0 0 1.063-.279l1.944-3.295c1.718-2.913.699-6.637-2.277-8.318-2.976-1.682-6.782-.684-8.5 2.229l-3.111 5.273c-1.718 2.912-.699 6.636 2.277 8.318.293.165.594.304.9.418a.694.694 0 0 0 .833-.311c.256-.434-.006-.99-.476-1.19a4.745 4.745 0 0 1-.479-.236c-2.232-1.26-2.997-4.054-1.708-6.238l3.111-5.273c1.289-2.185 4.143-2.933 6.375-1.672s2.997 4.054 1.708 6.239l-1.944 3.295ZM9.126 18.33a.752.752 0 0 0-.284-1.04.787.787 0 0 0-1.063.28l-1.944 3.296c-1.719 2.912-.699 6.636 2.277 8.317 2.976 1.682 6.782.684 8.5-2.229l3.111-5.273c1.718-2.912.699-6.636-2.277-8.318a6.327 6.327 0 0 0-.9-.419.694.694 0 0 0-.833.312c-.256.434.007.99.476 1.19.162.069.322.147.479.236 2.232 1.26 2.997 4.054 1.708 6.238l-3.111 5.273c-1.289 2.184-4.143 2.933-6.375 1.672s-2.997-4.054-1.708-6.238l1.944-3.296Z" fill="#000"></path></g><defs><clipPath id="clip0_3732_178637"><rect width="32" height="32" 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xmlns="http://www.w3.org/2000/svg"><title>Shop</title><g clip-path="url(#clip0_3732_178638)"><path d="M2 3h4l4 17h15l4-13H14" stroke="#000" stroke-width="1.5" stroke-linejoin="round" style="fill:none"></path><circle cx="2" cy="2" r="2" transform="matrix(1 0 0 -1 11 29)" stroke="#000" stroke-width="1.5"></circle><circle cx="2" cy="2" r="2" transform="matrix(1 0 0 -1 20 29)" stroke="#000" stroke-width="1.5"></circle></g><defs><clipPath id="clip0_3732_178638"><rect width="32" height="32" fill="white"></rect></clipPath><clipPath id="clip1_3732_178638"><rect width="32" height="32" fill="white"></rect></clipPath></defs></svg></div></button></div></div></div></span></div></figure><p class="has-dropcap has-dropcap__lead-standard-heading paywall">As a student, Jia had met Zhu Jiong, a cinematography student who was two years younger, and in 1999 they married. When he offered to pay for a ring, she told him to make a film instead. Despite being banned, he continued to work, renting equipment on the sly and shooting as far from Beijing as possible, often telling onlookers that he was making a commercial. If he were discovered, authorities could fine him, confiscate his footage, or revoke his passport. But soon he was at work on an ambitious project—“Platform,” the chronicle of a local song-and-dance troupe and its first forays outside its home town. Jia took the title from the first pop song he had ever heard as a teen-ager, and the script drew heavily on his own experiences in Fenyang.</p><p class="paywall">While scouting for an actress who could speak the local dialect, Jia visited a dance class at the Taiyuan Teachers College, where he noticed a tough-minded instructor, Zhao Tao, who came from a steel-mill family. She saw him staring. “I was thinking, What’s up with this guy?” she told me. Jia introduced himself and Zhao agreed to try acting, though she had been sufficiently spooked by casting-couch stories that she arrived on set with a stun gun. She eventually became his muse, and acted in five more of his feature films.</p><p class="paywall">“Platform,” which begins in 1979, as the Cultural Revolution is giving way to reform, opens on a village audience crowded around a stage for a performance of a Communist musical about Mao’s birthplace, “A Train Travelling Toward Shaoshan.” (It included melodies that Jia’s sister had performed on her violin growing up.) In the opening scene, the young members of the Peasant Culture Group from Fenyang pantomime a whistling, chugging train moving across the stage, but after the show their boss berates troupe member Cui Mingliang (portrayed by Jia’s former classmate Wang) for his feeble attempt at engine noises. Cui concedes, “I don’t know how trains sound.”</p><p class="paywall">The film follows Cui and others for a decade, as they traverse not only the Chinese countryside but also eons of cultural and political transformation. When Cui wears his first pair of bell-bottoms, his father, a laborer, demands to see if he can squat in them. “I’m an art worker! No manual labor,” Cui protests.</p><p class="paywall">“Platform” conveys an unglamorous view of China’s lurch into the free market. At one point, an illiterate coal miner is asked to sign a contract that reads:</p><blockquote class="BlockquoteEmbedWrapper-sc-SdiGL jPeLne paywall blockquote-embed" data-testid="blockquote-wrapper"><div class="BlockquoteEmbedContent-esRbGs jaQqnT blockquote-embed__content"><p>Life and death are questions of fate. I’m willing to work in Gao’s mine. Management accepts no blame for accidents. . . .</p></div></blockquote><p class="paywall">“Platform” ends in 1989, at the dawn of another new era; the cultural work team, now privatized and renamed the All-Star Rock n’ Breakdance Electronic Band, is doomed, soon to be replaced by televisions as entertainment in the villages.</p></div></div></div></div><div data-testid="RowWrapper" class="BaseWrap-sc-gjQpdd RowWrapper-UmqTg iUEiRd HEhan full-bleed-ad row-mid-content-ad"><div class="StickyMidContentAdWrapper-fSBzwl drzyIa ad-stickymidcontent"><div class="AdWrapper-dQtivb fZrsta ad ad--mid-content should-hold-space"><div class="ad__slot ad__slot--mid-content" data-node-id="w8tipx"></div></div></div></div><div class="GridWrapper-cAzTTK sjrqk grid grid-margins grid-items-2 ArticlePageChunksGrid-hfxaau eSqXkM grid-layout--adrail narrow wide-adrail"><div class="GridItem-buujkM stRKV grid--item grid-layout__content"><div class="BodyWrapper-kufPGa isZwGb body body__container article__body" data-journey-hook="client-content" data-testid="BodyWrapper"><div class="body__inner-container"><p class="paywall">When he finished shooting “Platform,” Jia confronted the problem of how to edit the film in secret. “We dared not process the film in China, because all the laboratories were owned by the government,” Chow Keung, the associate producer, who has served as executive producer of many Jia films, recalled. Chow saw no choice but to pack up the footage and smuggle it through customs at the walk-over border with Hong Kong. Chow was terrified. “Sometimes I had to hand-carry it,” he said.</p><p class="paywall">“Platform” premièred at the Venice film festival, and went on to win more than half a dozen major prizes around the globe. Writing in <em>Film Comment</em>, Kent Jones compared Jia’s mastery of his moment in time to Godard’s in the sixties and Altman’s in the seventies. Jia was a full-blown film-festival celebrity. He dedicated the film to his father, and returned to Shanxi to screen it for him. As they watched together, his father’s unease was palpable. “He said, ‘I envy you, because you can write about yourself,’ ” Jia told me. “But he also worried about me.”</p><p class="paywall">Despite his success abroad, Jia was increasingly dispirited. He was working at a furious pace: he followed “Platform” with “In Public,” his first documentary, a sublime short—shot in a train station, a dance hall, and other locales—and “Unknown Pleasures,” a feature about restless, disillusioned youths in a rust-belt town. But in China his films could be found only on pirated disks or at small screenings in bars. He felt powerless. “My motivation for making films was not simply a love of movies but also a sense of idealism, a hope that I could help to change society.” He had come to see Chinese directors as “carnies,” as he put it—knife-jugglers with little to show for their risks—and he considered abandoning cinema. On a trip to New York, he visited Martin Scorsese at his office and said he might quit making movies. “I said, ‘You can’t do that!’ ” Scorsese recalled. “ ‘You’re going to have to go on. You’re going to have to really push through.’ ”</p><p class="paywall">For a year, Jia shot nothing. He returned to Shanxi and spent weeks with old friends. They still called him Lailai, and harangued him for not having children yet. It was restorative, and, over time, Jia’s conception of his place at the intersection of culture and politics began evolving as well. “I realized that the power of a single individual is truly limited, but culture itself is powerful,” he said. “You discover that there are people in journalism, literature, painting, all trying to do the same thing.”</p><p class="has-dropcap has-dropcap__lead-standard-heading paywall">By 2003, film authorities were eager for reconciliation. Though officially barred, Jia and other young directors were still working and racking up film-festival acclaim. Moreover, the government’s conception of film had changed. “They used to treat film as a propaganda tool. Now they saw it as an industry,” Jia said. “To make money, they had to deregulate.” The film bureau called a meeting with banned directors and offered a deal: the ban would be lifted if they would agree not to show movies they had made illegally and, in the future, would submit to a streamlined script-approval and censorship process. (To this day, the filmmakers submit a fifteen-hundred-word synopsis rather than a full script, but the final edit of a film requires approval before it can be distributed.) The new regulations offered far less than full autonomy, but Jia felt vindicated. “If I had quit the film industry on January 13, 1999, and every other director had as well, the system would never have changed.”</p><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContainer-eJxoAx dBHGoQ asset-embed__asset-container"><span class="SpanWrapper-umhxW kKwZhx responsive-asset AssetEmbedResponsiveAsset-cXBNxi eCxVQK asset-embed__responsive-asset"><div data-attr-viewport-monitor="" class="ResponsiveCartoonWrapper-iTMMjI eXTYsS responsive-cartoon AssetEmbedResponsiveAsset-cXBNxi eCxVQK asset-embed__responsive-asset viewport-monitor-anchor"><a class="external-link responsive-cartoon__image-link" data-event-click="{"element":"ExternalLink","outgoingURL":"https://www.newyorker.com/cartoon/a14117"}" href="https://www.newyorker.com/cartoon/a14117" rel="nofollow noopener" target="_blank"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa ResponsiveCartoonImage-hzNqyc ikeCcH responsive-cartoon__image responsive-image"><noscript><img alt="“Ill be a real boy as soon as Im done with the hormone treatments.”" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/cartoons/593b662c1f743c6ee49a552e/master/w_1600%2Cc_limit/090511_a14117_p465.jpg" srcSet="https://media.newyorker.com/cartoons/593b662c1f743c6ee49a552e/master/w_120,c_limit/090511_a14117_p465.jpg 120w, https://media.newyorker.com/cartoons/593b662c1f743c6ee49a552e/master/w_240,c_limit/090511_a14117_p465.jpg 240w, https://media.newyorker.com/cartoons/593b662c1f743c6ee49a552e/master/w_320,c_limit/090511_a14117_p465.jpg 320w, https://media.newyorker.com/cartoons/593b662c1f743c6ee49a552e/master/w_640,c_limit/090511_a14117_p465.jpg 640w, https://media.newyorker.com/cartoons/593b662c1f743c6ee49a552e/master/w_960,c_limit/090511_a14117_p465.jpg 960w, https://media.newyorker.com/cartoons/593b662c1f743c6ee49a552e/master/w_1280,c_limit/090511_a14117_p465.jpg 1280w, https://media.newyorker.com/cartoons/593b662c1f743c6ee49a552e/master/w_1600,c_limit/090511_a14117_p465.jpg 1600w" sizes="100vw"/></noscript></picture></a><div class="CaptionWrapper-jSZdqE yJskm caption ResponsiveCartoonCaption-dokfdF cXfPNO responsive-cartoon__caption" data-testid="caption-wrapper"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptionText-bHjzlu iUEiRd xOinq bsWloa caption__text">“I’ll be a real boy as soon as I’m done with the hormone treatments.”</span></div><div class="ResponsiveCartoonCTA-eiqqMB iDCQRs"><div class="ResponsiveCartoonCTAWrapper-CYIqa iTbFtf"><div class="ResponsiveCartoonLinkButtonWrapper-hqDAJK eSEhbj"><button aria-label="Copy link to cartoon" class="BaseButton-bLlsy ButtonWrapper-xCepQ bqVKKv ldaQAm button button--primary-pair ResponsiveCartoonIconButton-hBCBMq iRLdPE" data-event-click="{"element":"Button"}" data-testid="Button" type="button"><span class="ButtonLabel-cjAuJN bBWXSg button__label">Copy link to cartoon</span><div class="ButtonIconWrapper-gFdzAL bPDyTT button__icon-container"><svg class="icon icon-copylink" width="32" height="32" viewBox="0 0 32 32" fill="none" xmlns="http://www.w3.org/2000/svg"><title>Copy link to cartoon</title><g clip-path="url(#clip0_3732_178637)"><path d="M22.654 13.67a.752.752 0 0 0 .284 1.039.787.787 0 0 0 1.063-.279l1.944-3.295c1.718-2.913.699-6.637-2.277-8.318-2.976-1.682-6.782-.684-8.5 2.229l-3.111 5.273c-1.718 2.912-.699 6.636 2.277 8.318.293.165.594.304.9.418a.694.694 0 0 0 .833-.311c.256-.434-.006-.99-.476-1.19a4.745 4.745 0 0 1-.479-.236c-2.232-1.26-2.997-4.054-1.708-6.238l3.111-5.273c1.289-2.185 4.143-2.933 6.375-1.672s2.997 4.054 1.708 6.239l-1.944 3.295ZM9.126 18.33a.752.752 0 0 0-.284-1.04.787.787 0 0 0-1.063.28l-1.944 3.296c-1.719 2.912-.699 6.636 2.277 8.317 2.976 1.682 6.782.684 8.5-2.229l3.111-5.273c1.718-2.912.699-6.636-2.277-8.318a6.327 6.327 0 0 0-.9-.419.694.694 0 0 0-.833.312c-.256.434.007.99.476 1.19.162.069.322.147.479.236 2.232 1.26 2.997 4.054 1.708 6.238l-3.111 5.273c-1.289 2.184-4.143 2.933-6.375 1.672s-2.997-4.054-1.708-6.238l1.944-3.296Z" fill="#000"></path></g><defs><clipPath id="clip0_3732_178637"><rect width="32" height="32" fill="white"></rect></clipPath><clipPath id="clip1_3732_178637"><rect width="32" height="32" fill="white"></rect></clipPath></defs></svg></div></button><div class="AlertWrapper-gvFATk cuesfH ResponsiveCartoonLinkAlertPopup-BPAXn jeGqZC shopping-alert" role="dialog"><div aria-hidden="true" role="presentation" class="AlertArrow-daOgye AlLda alert-arrow"></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ AlertMessage-jgAjgo bVCFRm iLIyQu jodGBg alert-message"><p aria-hidden="true">Link copied</p></div></div></div><button aria-label="Shop" class="BaseButton-bLlsy ButtonWrapper-xCepQ bqVKKv ldaQAm button button--primary-pair ResponsiveCartoonIconButton-hBCBMq iRLdPE" data-event-click="{"element":"Button"}" data-testid="Button" type="button"><span class="ButtonLabel-cjAuJN bBWXSg button__label">Shop</span><div class="ButtonIconWrapper-gFdzAL bPDyTT button__icon-container"><svg class="icon icon-cart" width="32" height="32" viewBox="0 0 32 32" fill="none" xmlns="http://www.w3.org/2000/svg"><title>Shop</title><g clip-path="url(#clip0_3732_178638)"><path d="M2 3h4l4 17h15l4-13H14" stroke="#000" stroke-width="1.5" stroke-linejoin="round" style="fill:none"></path><circle cx="2" cy="2" r="2" transform="matrix(1 0 0 -1 11 29)" stroke="#000" stroke-width="1.5"></circle><circle cx="2" cy="2" r="2" transform="matrix(1 0 0 -1 20 29)" stroke="#000" stroke-width="1.5"></circle></g><defs><clipPath id="clip0_3732_178638"><rect width="32" height="32" fill="white"></rect></clipPath><clipPath id="clip1_3732_178638"><rect width="32" height="32" fill="white"></rect></clipPath></defs></svg></div></button></div></div></div></span></div></figure><p class="paywall">For his first legal film, “The World,” Jia departed from Shanxi to tell the story of workers in a real-life Beijing theme park, where tourists could climb a miniature Eiffel Tower or be photographed in front of an ersatz World Trade Center. In an aesthetic break, he laced the film with a series of lushly colored animated sequences intended to convey the sheer strangeness of the place. It was Jia’s biggest production yet, with a budget of more than a million dollars, but though it was a critical success in the United States and elsewhere, Jia was disappointed by the muted impact at home. He flew west to the Three Gorges Dam, the mammoth hydroelectric project spanning the Yangtze, to make a documentary about the contemporary artist Liu Xiaodong, who was painting scenes of local workers. But, as Jia shot the documentary, which was later entitled “Dong,” the sight of two-thousand-year-old towns being demolished inspired a feature as well—“Still Life”—which Jia wrote over three days, holed up in his hotel. He cast his cousin, Han Sanming, as a coal miner in search of an estranged wife. To appear in the film, Han took a break from his real job, as a coal miner in Fenyang; after shooting, he returned to the mine.</p><p class="paywall">Jia began to grow frustrated with the limitations imposed by realism. He had come to believe that China’s transformations were so fast and mind-bending that putting them on film virtually demanded surrealism. In “Still Life,” a building launches into the air like a rocket, and a flying saucer zips across the sky. (As Jia has explained to a film magazine, China’s “official speeches and pictures are like U.F.O.s that never touch the ground.”) At their best, the effects make the distinction between real and unreal irrelevant: the final shot of “Still Life”—a lone figure silhouetted against the sky, balancing on a tightrope between buildings, an image that often strikes me as a fitting metaphor for Jia himself—looks scarcely stranger than anything before it.</p><p class="paywall">The production was draining. When Zhao Tao, who was playing the role of a nurse searching for her gallivanting husband, was not giving the subdued performance that Jia wanted, he secretly told the crew to ignore her or do whatever they could to make her miserable. She nearly quit the production before Jia let her in on the ruse. (“That was evil,” he said later, then added, “It worked.”) The budget had called for two or three trips to the gorges, but Jia was unhappy with his attempts to capture the scale of the transformation, and he insisted on making six trips. Costs mounted. A French investor pulled out. “We were nearly bankrupt,” Chow, the producer, said. They raised more money, but while racing to finish the film in time for the Venice festival, Jia received a call from his sister: their father had been given a diagnosis of late-stage lung cancer. Jia stayed at the hospital for weeks. When his father died, in March of 2006, Jia’s dominant emotion was guilt, for having invested so much more energy in his films than in his family. “When he died, it was like I suddenly grew up,” Jia said.</p><p class="paywall">His absorption in his work was also dooming his marriage. Jia and Zhu Jiong were seldom in the same city. They parted amicably. Jia still blames himself: “I was not responsible enough to her. She was too lonely.”</p><p class="paywall">That September, “Still Life” took the top prize in Venice, making Jia only the second mainland-Chinese director to win it, after Zhang Yimou, the director of “Ju Dou” (1990) and “Raise the Red Lantern” (1991). But as Jia prepared to release “Still Life” in China, his frustration with the film establishment—and with Zhang Yimou in particular—boiled over. Jia accused China’s older filmmakers of churning out big-budget action pictures that neglected the country’s mounting social problems. “When faced with the complexity of real society, their hands and feet quiver, and they deliriously shoot a bunch of childish fairy tales,” Jia wrote in an essay. He blamed a blockbuster mentality for preventing films like his from reaching a wider audience. To emphasize the point, he premièred “Still Life” on the same day that Zhang unveiled “Curse of the Golden Flower,” a forty-five-million-dollar palace drama that was said to be China’s priciest production to date. “In this era of worshipping gold, who is still interested in good people?” Jia said to reporters. In response, Zhang’s producer was quoted as saying that Jia was “sick with revenge against the rich.”</p><p class="paywall">“Still Life” did poorly in Chinese theatres, just as Jia expected. Two years later, he remains embittered, and is especially critical of Zhang Yimou’s coziness with the Chinese government. (In 2002, Zhang premièred his martial-arts film “Hero” at the Great Hall of the People, the home of the Party-run legislature, and he designed the opening ceremony of the 2008 Beijing Olympics.) “Since ‘Hero,’ I have not liked his films,” Jia told me one night as we sat in the lobby of a multiplex, between screenings. “Not because they are kung-fu movies—I like kung-fu movies—but because the film underscores power, that we should ‘bow down’ before power! For ‘harmony in the world,’ we should give up individual fights and efforts. The ‘authority of power,’ the focus of his films, is what makes me extremely uncomfortable.”</p><p class="has-dropcap has-dropcap__lead-standard-heading paywall">Jia’s argument has many supporters, both foreign and domestic, and, indeed, the reputations of his predecessors have eroded sharply in recent years. But, at the same time, Jia has encountered criticism of his own from the avant-garde edge of Chinese intellectuals, who accuse him of abandoning his most subversive themes. On a Saturday afternoon in February, a few days before the Chinese première of his most recent film, “24 City,” a screening was held for writers, filmmakers, and other invitees. “24 City” is composed mainly of interviews, some real and some performed by actors, to tell the true story of Factory No. 420, an engine plant in the city of Chengdu that had employed thirty thousand workers and was shut down to make way for a high-rise luxury building complex. After the screening, Jia joined a panel discussion at a loft-style gallery, a few floors up from the Beijing branch of Hooters. The audience of a hundred or so was Chinese, hip, and earnest (I counted two berets)—exactly the kind of fans who gravitated to him when he was underground.</p><p class="paywall">After the host gave a routine round of praise, the first question from the audience asked Jia, pointedly, “Was the decision to use movie stars made with the market in mind?” Another questioner asked if Jia had avoided harder-hitting stories of truly abject poverty because he wouldn’t get them approved. In an armchair onstage, Jia pursed his lips and looked wounded. “If this group is marginalized,” he said, “then their faces, their language, their food, their living conditions, their homes, their expressions—all of that—is erased from the screen, to zero. Anything I can do to hold on to them and make people see them onscreen is the most important thing I can do! Otherwise, they’re silenced!”</p><p class="paywall">When I asked Zhang Xianmin, a well-known independent filmmaker who teaches at Beijing Film Academy, to sum up his disaffection with Jia’s career path, he said, “There is a phase when Jia’s subject was the absolute pursuit of freedom. But I think, quite clearly, that period finished with ‘Unknown Pleasures’ ”—the last film that Jia made without government approval.</p><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContainer-eJxoAx dBHGoQ asset-embed__asset-container"><span class="SpanWrapper-umhxW kKwZhx responsive-asset AssetEmbedResponsiveAsset-cXBNxi eCxVQK asset-embed__responsive-asset"><div data-attr-viewport-monitor="" class="ResponsiveCartoonWrapper-iTMMjI eXTYsS responsive-cartoon AssetEmbedResponsiveAsset-cXBNxi eCxVQK asset-embed__responsive-asset viewport-monitor-anchor"><a class="external-link responsive-cartoon__image-link" data-event-click="{"element":"ExternalLink","outgoingURL":"https://www.newyorker.com/cartoon/a14113"}" href="https://www.newyorker.com/cartoon/a14113" rel="nofollow noopener" target="_blank"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa ResponsiveCartoonImage-hzNqyc ikeCcH responsive-cartoon__image responsive-image"><noscript><img alt="“This week on ‘The Amazing Race to Enlightenment can Jim and Suzy achieve right mindfulness And will Barb and Candy be..." class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/cartoons/593b662d1f743c6ee49a5530/master/w_1600%2Cc_limit/090511_a14113_p465.jpg" srcSet="https://media.newyorker.com/cartoons/593b662d1f743c6ee49a5530/master/w_120,c_limit/090511_a14113_p465.jpg 120w, https://media.newyorker.com/cartoons/593b662d1f743c6ee49a5530/master/w_240,c_limit/090511_a14113_p465.jpg 240w, https://media.newyorker.com/cartoons/593b662d1f743c6ee49a5530/master/w_320,c_limit/090511_a14113_p465.jpg 320w, https://media.newyorker.com/cartoons/593b662d1f743c6ee49a5530/master/w_640,c_limit/090511_a14113_p465.jpg 640w, https://media.newyorker.com/cartoons/593b662d1f743c6ee49a5530/master/w_960,c_limit/090511_a14113_p465.jpg 960w, https://media.newyorker.com/cartoons/593b662d1f743c6ee49a5530/master/w_1280,c_limit/090511_a14113_p465.jpg 1280w, https://media.newyorker.com/cartoons/593b662d1f743c6ee49a5530/master/w_1600,c_limit/090511_a14113_p465.jpg 1600w" sizes="100vw"/></noscript></picture></a><div class="CaptionWrapper-jSZdqE yJskm caption ResponsiveCartoonCaption-dokfdF cXfPNO responsive-cartoon__caption" data-testid="caption-wrapper"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptionText-bHjzlu iUEiRd xOinq bsWloa caption__text">“This week, on ‘The Amazing Race to Enlightenment,’ can Jim and Suzy achieve right mindfulness? And will Barb and Candy be eliminated for relentless clinging to the self?”</span></div><div class="ResponsiveCartoonCTA-eiqqMB iDCQRs"><div class="ResponsiveCartoonCTAWrapper-CYIqa iTbFtf"><div class="ResponsiveCartoonLinkButtonWrapper-hqDAJK eSEhbj"><button aria-label="Copy link to cartoon" class="BaseButton-bLlsy ButtonWrapper-xCepQ bqVKKv ldaQAm button button--primary-pair ResponsiveCartoonIconButton-hBCBMq iRLdPE" data-event-click="{"element":"Button"}" data-testid="Button" type="button"><span class="ButtonLabel-cjAuJN bBWXSg button__label">Copy link to cartoon</span><div class="ButtonIconWrapper-gFdzAL bPDyTT button__icon-container"><svg class="icon icon-copylink" width="32" height="32" viewBox="0 0 32 32" fill="none" xmlns="http://www.w3.org/2000/svg"><title>Copy link to cartoon</title><g clip-path="url(#clip0_3732_178637)"><path d="M22.654 13.67a.752.752 0 0 0 .284 1.039.787.787 0 0 0 1.063-.279l1.944-3.295c1.718-2.913.699-6.637-2.277-8.318-2.976-1.682-6.782-.684-8.5 2.229l-3.111 5.273c-1.718 2.912-.699 6.636 2.277 8.318.293.165.594.304.9.418a.694.694 0 0 0 .833-.311c.256-.434-.006-.99-.476-1.19a4.745 4.745 0 0 1-.479-.236c-2.232-1.26-2.997-4.054-1.708-6.238l3.111-5.273c1.289-2.185 4.143-2.933 6.375-1.672s2.997 4.054 1.708 6.239l-1.944 3.295ZM9.126 18.33a.752.752 0 0 0-.284-1.04.787.787 0 0 0-1.063.28l-1.944 3.296c-1.719 2.912-.699 6.636 2.277 8.317 2.976 1.682 6.782.684 8.5-2.229l3.111-5.273c1.718-2.912.699-6.636-2.277-8.318a6.327 6.327 0 0 0-.9-.419.694.694 0 0 0-.833.312c-.256.434.007.99.476 1.19.162.069.322.147.479.236 2.232 1.26 2.997 4.054 1.708 6.238l-3.111 5.273c-1.289 2.184-4.143 2.933-6.375 1.672s-2.997-4.054-1.708-6.238l1.944-3.296Z" fill="#000"></path></g><defs><clipPath id="clip0_3732_178637"><rect width="32" height="32" fill="white"></rect></clipPath><clipPath id="clip1_3732_178637"><rect width="32" height="32" fill="white"></rect></clipPath></defs></svg></div></button><div class="AlertWrapper-gvFATk cuesfH ResponsiveCartoonLinkAlertPopup-BPAXn jeGqZC shopping-alert" role="dialog"><div aria-hidden="true" role="presentation" class="AlertArrow-daOgye AlLda alert-arrow"></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ AlertMessage-jgAjgo bVCFRm iLIyQu jodGBg alert-message"><p aria-hidden="true">Link copied</p></div></div></div><button aria-label="Shop" class="BaseButton-bLlsy ButtonWrapper-xCepQ bqVKKv ldaQAm button button--primary-pair ResponsiveCartoonIconButton-hBCBMq iRLdPE" data-event-click="{"element":"Button"}" data-testid="Button" type="button"><span class="ButtonLabel-cjAuJN bBWXSg button__label">Shop</span><div class="ButtonIconWrapper-gFdzAL bPDyTT button__icon-container"><svg class="icon icon-cart" width="32" height="32" viewBox="0 0 32 32" fill="none" xmlns="http://www.w3.org/2000/svg"><title>Shop</title><g clip-path="url(#clip0_3732_178638)"><path d="M2 3h4l4 17h15l4-13H14" stroke="#000" stroke-width="1.5" stroke-linejoin="round" style="fill:none"></path><circle cx="2" cy="2" r="2" transform="matrix(1 0 0 -1 11 29)" stroke="#000" stroke-width="1.5"></circle><circle cx="2" cy="2" r="2" transform="matrix(1 0 0 -1 20 29)" stroke="#000" stroke-width="1.5"></circle></g><defs><clipPath id="clip0_3732_178638"><rect width="32" height="32" fill="white"></rect></clipPath><clipPath id="clip1_3732_178638"><rect width="32" height="32" fill="white"></rect></clipPath></defs></svg></div></button></div></div></div></span></div></figure><p class="paywall">As Zhang sees it, Jia’s decision to seek theatrical release and submit to censorship has ceded the vanguard of China’s most politically challenging cinema to a new crop of filmmakers, who work with low-cost digital equipment and never bother to seek government approval. Those films are shown overseas and at a series of low-profile but thriving festivals in China. Typical of this new batch are documentaries such as Zhao Liang’s “Crime and Punishment,” about interrogation tactics at a remote police station, and Zhao Dayong’s “Ghost Town,” which records the poverty and cultural desolation of a mountain village far from China’s boomtowns.</p></div></div></div></div><div data-testid="RowWrapper" class="BaseWrap-sc-gjQpdd RowWrapper-UmqTg iUEiRd HEhan full-bleed-ad row-mid-content-ad"><div class="StickyMidContentAdWrapper-fSBzwl drzyIa ad-stickymidcontent"><div class="AdWrapper-dQtivb fZrsta ad ad--mid-content should-hold-space"><div class="ad__slot ad__slot--mid-content" data-node-id="uih26s"></div></div></div></div><div class="GridWrapper-cAzTTK sjrqk grid grid-margins grid-items-2 ArticlePageChunksGrid-hfxaau eSqXkM grid-layout--adrail narrow wide-adrail"><div class="GridItem-buujkM stRKV grid--item grid-layout__content"><div class="BodyWrapper-kufPGa isZwGb body body__container article__body" data-journey-hook="client-content" data-testid="BodyWrapper"><div class="body__inner-container"><p class="paywall">Most of those films have such tiny audiences that authorities rarely bother to interfere, except when the subject is acutely sensitive. When YunFest, a festival in Yunnan Province, scheduled a screening last year of “Though I Am Gone,” a low-budget historical documentary about a schoolteacher in Beijing who was beaten to death by Red Guards during the Cultural Revolution, authorities, at the last minute, pressured organizers to postpone the festival. (It later convened and showed the film in another city in Yunnan.) In the past, the maker of that film, Hu Jie, has described being visited by state security agents who asked about his work, yet, in a sign of how China’s control of filmmaking has slackened from a decade ago, Hu has continued to make films.</p><p class="paywall">Likewise, China’s bans on filmmakers are not what they once were. The prominent director Lou Ye was banned from filmmaking for five years after “Summer Palace” (2006), a sexually explicit drama set amid the Tiananmen Square demonstrations, was submitted at Cannes before receiving government approval. And yet, midway through the ban, Lou is hard at work; his latest film, “Spring Fever,” is slated to appear in May at Cannes.</p><p class="paywall">Chinese authorities seem to have concluded that art films, screened at festivals for urbane, like-minded audiences, have limited social impact. And, in a sense, Jia has reached the same conclusion. He believes his social critique is strongest not as a protester on the sidelines but as a legal—and marketable—filmmaker. “If we keep filming ordinary workers, that will heighten sympathy and concern for them, and they, in turn, will get closer to freedom,” Jia told me. “In the early eighties, many directors made films about women’s rights—about their confinement, their unhappy marriages—and, through those films, Chinese people realized that women must be respected and treated equally.” Yu, the cinematographer, summed up Jia’s strategy for addressing sensitive issues as “the intelligence to be politically critical but in a more discreet sense.”</p><p class="paywall">Jia is an auteur with aspirations of populism. (“It’s part of a director’s job to communicate his works to others,” he told me.) But it’s not yet clear if he can win China’s audience away from martial-arts extravaganzas and mindless comedies without losing the artistic and political energy that got him where he is. By March, with “24 City” still in theatres, he was immersed in his next projects: a historical documentary about Shanghai and a feature, a kung-fu movie set at the turn of the twentieth century—or, as he called it, “an anti-kung-fu movie.” (“In most movies, kung fu is all-powerful, but in my film it’s getting weaker and weaker,” he said.) After more than a decade of chronicling contemporary China, he is increasingly focussed on correcting distortions of Chinese history, even if that is guaranteed to draw official scrutiny. “Topics like the Cultural Revolution, June Fourth, and the anti-rightist campaign are not permitted to be made into films,” he told me. “But those incidents affect China today. People are forgetting them. Today’s young people don’t even know what happened. On one hand, I want to record what’s happening in China now, but I feel an urgent need to know more about history.”</p><p class="paywall">Jia’s plans seemed destined to attract criticism: from the government, for exploring China’s most sensitive historical chapters, and from art-film fans, for making a kung-fu movie. He hardly seems to mind. He has come to inhabit a limbo of his own making, and that status has put him at odds with both worlds. “My expression, my view on history, my view on the truth must be independent,” he says, “but I tell myself not to get marginalized, because being marginalized means you can’t do anything. Marginalization can be a kind of pleasant stance—I really admire many of those people—but I would rather expend enormous energy trying to dance with the many levels of the era in which we live.” ♦</p></div></div></div></div></div><div class="GridWrapper-cAzTTK sjrqk grid grid-margins grid-items-2 PaywallInlineBarrierWithWrapperGrid-fyrGfS kLQIUk grid-layout--adrail narrow wide-adrail"><div class="GridItem-buujkM stRKV grid--item grid-layout__content"><div class="body body__inline-barrier article__body"><div class="container container--body"><div class="container--body-inner"><aside class="PaywallInlineBarrierWrapper-iBnuqk lfXXa-D" data-testid="PaywallInlineBarrierWrapper"><div class="ConsumerMarketingUnitThemedWrapper-iUTMTf jssHut consumer-marketing-unit consumer-marketing-unit--paywall-inline-barrier" role="presentation" aria-live="polite" aria-hidden="true"><div class="consumer-marketing-unit__slot consumer-marketing-unit__slot--paywall-inline-barrier"></div><div class="journey-unit"></div></div></aside></div></div></div></div></div></div></div><div class="GridWrapper-cAzTTK sjrqk grid grid-margins grid-items-2 ContentWrapperGrid-fvkmBv brYtrA grid-layout--adrail narrow wide-adrail"><div class="GridItem-buujkM stRKV grid--item grid-layout__content"><div class="body body__container"><div class="container container--body"><div class="container--body-inner"></div></div></div></div></div></div></article><div class="ContentFooterWrapper-jVNdRG dTJkpP ArticlePageContentFooterGrid-ccsXYy eMZRHU article-body__footer"><div class="GridWrapper-cAzTTK sjrqk grid grid-margins grid-items-2 grid-layout--adrail narrow wide-adrail"><div class="GridItem-buujkM stRKV grid--item grid-layout__content"><footer class="ContentFooterMagazineDisclaimer-gzKAqo juLugu" data-testid="MagazineDisclaimerWrapper">Published in the print edition of the <a href="/magazine/2009/05/11">May 11, 2009</a>, issue, with the headline “The Long Shot.”</footer></div></div><div data-testid="RowWrapper" class="BaseWrap-sc-gjQpdd RowWrapper-UmqTg iUEiRd HEhan"><div class="GridWrapper-cAzTTK sjrqk grid grid-margins grid-items-2 grid-layout--adrail narrow wide-adrail"><div class="GridItem-buujkM stRKV grid--item grid-layout__content"><div class="ContributorsWrapper-eNpWFu gcgHaa contributors" data-testid="Contributors"><div data-testid="contributor-bio-wrapper" class="ContributorBioWrapper-bnVHbt gukMon"><div class="ContributorBioAvatar-bIGTqf eMWbvj"><a href="/contributors/evan-osnos"><span class="SpanWrapper-umhxW jvZaPI responsive-asset"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa responsive-image"><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/59097b75c14b3c606c109454/1:1/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/59097b75c14b3c606c109454/1:1/w_240,c_limit/undefined 240w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/59097b75c14b3c606c109454/1:1/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/59097b75c14b3c606c109454/1:1/w_240,c_limit/undefined 240w" sizes="100vw"/><img alt="" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/59097b75c14b3c606c109454/1:1/w_270%2Cc_limit/undefined"/></picture></span></a></div><div class="ContributorBioContent-ubQdr jZTSSi"><div class="ContributorBioHeader-ledood XOIEx"></div><div class="ContributorBioBio-fBolsO giFhKz"><a href="/contributors/evan-osnos">Evan Osnos</a> is a staff writer at <em>The New Yorker</em> covering politics and foreign affairs. His most recent book is “<a href="https://www.amazon.com/Wildland-Making-Americas-Evan-Osnos/dp/0374286671">Wildland: The Making of America’s Fury</a>.”</div><div class="ContributorBioFooter-brqDlv ezUmSv"></div></div></div></div></div></div></div><div data-testid="RowWrapper" class="BaseWrap-sc-gjQpdd RowWrapper-UmqTg iUEiRd HEhan"><div class="GridWrapper-cAzTTK sjrqk grid grid-margins grid-items-2 grid-layout--adrail narrow wide-adrail"><div class="GridItem-buujkM stRKV grid--item grid-layout__content"><div data-testid="TagCloudWrapper" class="TagCloudWrapper-gGgndx guyhEV ContentFooterTagCloud-krQmRG esZLGh"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudSectionHeader-cOforY iUEiRd jEHmrR kQQRmu">More:</span><a href="/tag/24-city" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLink-eNWuiM TagCloudLink-kvjZFu iUEiRd dTCiYp gFobuk ldGMWn"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd kQrSNW bUkXwu">24 City</span></a><a href="/tag/censorship" 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src="https://media.newyorker.com/photos/6787d88d61eb94c8c0fae775/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dJKpb summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX braSQU rubric rubric--discovery SummaryItemRubric-dguGKN fYiFyD summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">A Critic at Large</span></div></div><a class="SummaryItemHedLink-civMjp iksxXg summary-item-tracking__hed-link summary-item__hed-link bottom_recirc-1" data-component-type="recirc-river" data-recirc-id="item-hed-1" data-recirc-pattern="summary-item" href="https://www.newyorker.com/magazine/2025/01/27/the-sirens-call-chris-hayes-book-review#intcid=_the-new-yorker-article-bottom-recirc_cca1e2e0-9ff4-4ef9-a593-a31d3732077c_roberta-similarity1_fallback_popular4-1" target="_self"><div class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">What if the Attention Crisis Is All a Distraction?</div></a><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/magazine/2025/01/27/the-sirens-call-chris-hayes-book-review#intcid=_the-new-yorker-article-bottom-recirc_cca1e2e0-9ff4-4ef9-a593-a31d3732077c_roberta-similarity1_fallback_popular4-1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-1" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/6787d88d61eb94c8c0fae775/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/6787d88d61eb94c8c0fae775/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/6787d88d61eb94c8c0fae775/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/6787d88d61eb94c8c0fae775/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/6787d88d61eb94c8c0fae775/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/6787d88d61eb94c8c0fae775/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/6787d88d61eb94c8c0fae775/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="What if the Attention Crisis Is All a Distraction?" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/6787d88d61eb94c8c0fae775/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">From the pianoforte to the smartphone, each wave of tech has sparked fears of brain rot. But the problem isn’t our ability to focus—it’s what we’re focussing on.</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">By </span>Daniel Immerwahr</span></span></span></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff UgVUX summary-item summary-item--ARTICLE summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below-desktop-only summary-item--layout-position-image-right summary-item--layout-proportions-33-66 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard SummaryCollectionGridSummaryItem-WColm dVISaF" data-item="{"dangerousHed":"What an Insomniac Knows","index":1,"contentType":"venue","hotelLink":"https://www.newyorker.com/magazine/2025/01/27/what-an-insomniac-knows#intcid=_the-new-yorker-article-bottom-recirc_cca1e2e0-9ff4-4ef9-a593-a31d3732077c_roberta-similarity1_fallback_popular4-1","layout":"GridFourColumns"}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/magazine/2025/01/27/what-an-insomniac-knows#intcid=_the-new-yorker-article-bottom-recirc_cca1e2e0-9ff4-4ef9-a593-a31d3732077c_roberta-similarity1_fallback_popular4-1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-2" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/6789641426bd55f0df2cf9e2/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/6789641426bd55f0df2cf9e2/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/6789641426bd55f0df2cf9e2/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/6789641426bd55f0df2cf9e2/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/6789641426bd55f0df2cf9e2/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/6789641426bd55f0df2cf9e2/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/6789641426bd55f0df2cf9e2/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="What an Insomniac Knows" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/6789641426bd55f0df2cf9e2/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dJKpb summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX braSQU rubric rubric--discovery SummaryItemRubric-dguGKN fYiFyD summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">Annals of Inquiry</span></div></div><a class="SummaryItemHedLink-civMjp iksxXg summary-item-tracking__hed-link summary-item__hed-link bottom_recirc-2" data-component-type="recirc-river" data-recirc-id="item-hed-2" data-recirc-pattern="summary-item" href="https://www.newyorker.com/magazine/2025/01/27/what-an-insomniac-knows#intcid=_the-new-yorker-article-bottom-recirc_cca1e2e0-9ff4-4ef9-a593-a31d3732077c_roberta-similarity1_fallback_popular4-1" target="_self"><div class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">What an Insomniac Knows</div></a><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/magazine/2025/01/27/what-an-insomniac-knows#intcid=_the-new-yorker-article-bottom-recirc_cca1e2e0-9ff4-4ef9-a593-a31d3732077c_roberta-similarity1_fallback_popular4-1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-2" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/6789641426bd55f0df2cf9e2/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/6789641426bd55f0df2cf9e2/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/6789641426bd55f0df2cf9e2/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/6789641426bd55f0df2cf9e2/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/6789641426bd55f0df2cf9e2/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/6789641426bd55f0df2cf9e2/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/6789641426bd55f0df2cf9e2/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="What an Insomniac Knows" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/6789641426bd55f0df2cf9e2/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">What’s really going on when you can’t power down?</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">By </span>Adam Gopnik</span></span></span></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff UgVUX summary-item summary-item--ARTICLE summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below-desktop-only summary-item--layout-position-image-right summary-item--layout-proportions-33-66 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard SummaryCollectionGridSummaryItem-WColm dVISaF" data-item="{"dangerousHed":"Laugh Lines No. 7: Mail","index":2,"contentType":"venue","hotelLink":"https://www.newyorker.com/puzzles-and-games-dept/laugh-lines/no-7#intcid=_the-new-yorker-article-bottom-recirc_cca1e2e0-9ff4-4ef9-a593-a31d3732077c_roberta-similarity1_fallback_cral-top2-2","layout":"GridFourColumns"}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/puzzles-and-games-dept/laugh-lines/no-7#intcid=_the-new-yorker-article-bottom-recirc_cca1e2e0-9ff4-4ef9-a593-a31d3732077c_roberta-similarity1_fallback_cral-top2-2" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-3" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/675c84675b9e51f1393ae141/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/675c84675b9e51f1393ae141/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/675c84675b9e51f1393ae141/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/675c84675b9e51f1393ae141/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/675c84675b9e51f1393ae141/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/675c84675b9e51f1393ae141/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/675c84675b9e51f1393ae141/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="Laugh Lines No. 7: Mail" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/675c84675b9e51f1393ae141/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dJKpb summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX braSQU rubric rubric--discovery SummaryItemRubric-dguGKN fYiFyD summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">Laugh Lines</span></div></div><a class="SummaryItemHedLink-civMjp iksxXg summary-item-tracking__hed-link summary-item__hed-link bottom_recirc-3" data-component-type="recirc-river" data-recirc-id="item-hed-3" data-recirc-pattern="summary-item" href="https://www.newyorker.com/puzzles-and-games-dept/laugh-lines/no-7#intcid=_the-new-yorker-article-bottom-recirc_cca1e2e0-9ff4-4ef9-a593-a31d3732077c_roberta-similarity1_fallback_cral-top2-2" target="_self"><div class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">Laugh Lines No. 7: Mail</div></a><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/puzzles-and-games-dept/laugh-lines/no-7#intcid=_the-new-yorker-article-bottom-recirc_cca1e2e0-9ff4-4ef9-a593-a31d3732077c_roberta-similarity1_fallback_cral-top2-2" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-3" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/675c84675b9e51f1393ae141/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/675c84675b9e51f1393ae141/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/675c84675b9e51f1393ae141/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/675c84675b9e51f1393ae141/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/675c84675b9e51f1393ae141/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/675c84675b9e51f1393ae141/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/675c84675b9e51f1393ae141/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="Laugh Lines No. 7: Mail" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/675c84675b9e51f1393ae141/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">Can you guess when these <em>New Yorker</em> cartoons were originally published?</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">By </span>The New Yorker</span></span></span></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff UgVUX summary-item summary-item--ARTICLE summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below-desktop-only summary-item--layout-position-image-right summary-item--layout-proportions-33-66 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard SummaryCollectionGridSummaryItem-WColm dVISaF" data-item="{"dangerousHed":"The Crossword: Monday, February 17, 2025","index":3,"contentType":"venue","hotelLink":"https://www.newyorker.com/puzzles-and-games-dept/crossword/2025/02/17#intcid=_the-new-yorker-article-bottom-recirc_cca1e2e0-9ff4-4ef9-a593-a31d3732077c_roberta-similarity1_fallback_cral-top2-2","layout":"GridFourColumns"}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/puzzles-and-games-dept/crossword/2025/02/17#intcid=_the-new-yorker-article-bottom-recirc_cca1e2e0-9ff4-4ef9-a593-a31d3732077c_roberta-similarity1_fallback_cral-top2-2" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-4" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/623b77c405420050a967b54c/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/623b77c405420050a967b54c/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/623b77c405420050a967b54c/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/623b77c405420050a967b54c/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/623b77c405420050a967b54c/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/623b77c405420050a967b54c/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/623b77c405420050a967b54c/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="The Crossword: Monday, February 17, 2025" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/623b77c405420050a967b54c/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dJKpb summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX braSQU rubric rubric--discovery SummaryItemRubric-dguGKN fYiFyD summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">Crossword</span></div></div><a class="SummaryItemHedLink-civMjp iksxXg summary-item-tracking__hed-link summary-item__hed-link bottom_recirc-4" data-component-type="recirc-river" data-recirc-id="item-hed-4" data-recirc-pattern="summary-item" href="https://www.newyorker.com/puzzles-and-games-dept/crossword/2025/02/17#intcid=_the-new-yorker-article-bottom-recirc_cca1e2e0-9ff4-4ef9-a593-a31d3732077c_roberta-similarity1_fallback_cral-top2-2" target="_self"><div class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">The Crossword: Monday, February 17, 2025</div></a><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/puzzles-and-games-dept/crossword/2025/02/17#intcid=_the-new-yorker-article-bottom-recirc_cca1e2e0-9ff4-4ef9-a593-a31d3732077c_roberta-similarity1_fallback_cral-top2-2" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-4" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/623b77c405420050a967b54c/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/623b77c405420050a967b54c/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/623b77c405420050a967b54c/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/623b77c405420050a967b54c/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/623b77c405420050a967b54c/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/623b77c405420050a967b54c/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/623b77c405420050a967b54c/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="The Crossword: Monday, February 17, 2025" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/623b77c405420050a967b54c/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">Trojan warrior in Ursula K. Le Guin’s “Lavinia”: six letters.</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">By </span>Brooke Husic</span></span></span></div></div></div></div></div></div><div class="AdWrapper-dQtivb fZrsta SummaryCollectionGridSummaryItem-WColm drmLpp ad ad--read-more"><div class="ad__slot ad__slot--read-more" data-node-id="u4gnjy"></div></div><div class="SummaryItemWrapper-iwvBff UgVUX summary-item summary-item--ARTICLE summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below-desktop-only summary-item--layout-position-image-right summary-item--layout-proportions-33-66 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard SummaryCollectionGridSummaryItem-WColm dVISaF" data-item="{"dangerousHed":"Elizabeth Warren Fights to Defend the Consumer Protection Agency She Helped Create","index":4,"contentType":"venue","hotelLink":"https://www.newyorker.com/news/the-financial-page/elizabeth-warren-fights-to-defend-the-consumer-protection-agency-she-helped-create#intcid=_the-new-yorker-article-bottom-recirc_cca1e2e0-9ff4-4ef9-a593-a31d3732077c_roberta-similarity1_fallback_cral-top2-2","layout":"GridFourColumns"}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/news/the-financial-page/elizabeth-warren-fights-to-defend-the-consumer-protection-agency-she-helped-create#intcid=_the-new-yorker-article-bottom-recirc_cca1e2e0-9ff4-4ef9-a593-a31d3732077c_roberta-similarity1_fallback_cral-top2-2" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-5" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67afa14b2b548ab97f624385/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67afa14b2b548ab97f624385/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67afa14b2b548ab97f624385/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/67afa14b2b548ab97f624385/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67afa14b2b548ab97f624385/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67afa14b2b548ab97f624385/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67afa14b2b548ab97f624385/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="Elizabeth Warren Fights to Defend the Consumer Protection Agency She Helped Create" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67afa14b2b548ab97f624385/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dJKpb summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX braSQU rubric rubric--discovery SummaryItemRubric-dguGKN fYiFyD summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">The Financial Page</span></div></div><a class="SummaryItemHedLink-civMjp iksxXg summary-item-tracking__hed-link summary-item__hed-link bottom_recirc-5" data-component-type="recirc-river" data-recirc-id="item-hed-5" data-recirc-pattern="summary-item" href="https://www.newyorker.com/news/the-financial-page/elizabeth-warren-fights-to-defend-the-consumer-protection-agency-she-helped-create#intcid=_the-new-yorker-article-bottom-recirc_cca1e2e0-9ff4-4ef9-a593-a31d3732077c_roberta-similarity1_fallback_cral-top2-2" target="_self"><div class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">Elizabeth Warren Fights to Defend the Consumer Protection Agency She Helped Create</div></a><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/news/the-financial-page/elizabeth-warren-fights-to-defend-the-consumer-protection-agency-she-helped-create#intcid=_the-new-yorker-article-bottom-recirc_cca1e2e0-9ff4-4ef9-a593-a31d3732077c_roberta-similarity1_fallback_cral-top2-2" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-5" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67afa14b2b548ab97f624385/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67afa14b2b548ab97f624385/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67afa14b2b548ab97f624385/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/67afa14b2b548ab97f624385/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67afa14b2b548ab97f624385/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67afa14b2b548ab97f624385/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67afa14b2b548ab97f624385/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="Elizabeth Warren Fights to Defend the Consumer Protection Agency She Helped Create" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67afa14b2b548ab97f624385/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">Elon Musk’s campaign to shutter the Consumer Financial Protection Bureau will end up hurting the very people Donald Trump promised to safeguard.</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">By </span>John Cassidy</span></span></span></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff UgVUX summary-item summary-item--ARTICLE summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below-desktop-only summary-item--layout-position-image-right summary-item--layout-proportions-33-66 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard SummaryCollectionGridSummaryItem-WColm dVISaF" data-item="{"dangerousHed":"Daily Cartoon: Monday, February 17th","index":5,"contentType":"venue","hotelLink":"https://www.newyorker.com/cartoons/daily-cartoon/monday-february-17th-your-despot#intcid=_the-new-yorker-article-bottom-recirc_cca1e2e0-9ff4-4ef9-a593-a31d3732077c_roberta-similarity1_fallback_cral-top2-2","layout":"GridFourColumns"}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/cartoons/daily-cartoon/monday-february-17th-your-despot#intcid=_the-new-yorker-article-bottom-recirc_cca1e2e0-9ff4-4ef9-a593-a31d3732077c_roberta-similarity1_fallback_cral-top2-2" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-6" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/cartoons/67af58eeddb8126ab5b4580a/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/cartoons/67af58eeddb8126ab5b4580a/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/cartoons/67af58eeddb8126ab5b4580a/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/cartoons/67af58eeddb8126ab5b4580a/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/cartoons/67af58eeddb8126ab5b4580a/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/cartoons/67af58eeddb8126ab5b4580a/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/cartoons/67af58eeddb8126ab5b4580a/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="Daily Cartoon: Monday, February 17th" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/cartoons/67af58eeddb8126ab5b4580a/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dJKpb summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX braSQU rubric rubric--discovery SummaryItemRubric-dguGKN fYiFyD summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">Humor</span></div></div><a class="SummaryItemHedLink-civMjp iksxXg summary-item-tracking__hed-link summary-item__hed-link bottom_recirc-6" data-component-type="recirc-river" data-recirc-id="item-hed-6" data-recirc-pattern="summary-item" href="https://www.newyorker.com/cartoons/daily-cartoon/monday-february-17th-your-despot#intcid=_the-new-yorker-article-bottom-recirc_cca1e2e0-9ff4-4ef9-a593-a31d3732077c_roberta-similarity1_fallback_cral-top2-2" target="_self"><div class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">Daily Cartoon: Monday, February 17th</div></a><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/cartoons/daily-cartoon/monday-february-17th-your-despot#intcid=_the-new-yorker-article-bottom-recirc_cca1e2e0-9ff4-4ef9-a593-a31d3732077c_roberta-similarity1_fallback_cral-top2-2" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-6" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/cartoons/67af58eeddb8126ab5b4580a/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/cartoons/67af58eeddb8126ab5b4580a/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/cartoons/67af58eeddb8126ab5b4580a/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/cartoons/67af58eeddb8126ab5b4580a/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/cartoons/67af58eeddb8126ab5b4580a/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/cartoons/67af58eeddb8126ab5b4580a/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/cartoons/67af58eeddb8126ab5b4580a/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="Daily Cartoon: Monday, February 17th" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/cartoons/67af58eeddb8126ab5b4580a/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">“Take us to your despot.”</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">By </span>Kim Warp</span></span></span></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff UgVUX summary-item summary-item--ARTICLE summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below-desktop-only summary-item--layout-position-image-right summary-item--layout-proportions-33-66 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard SummaryCollectionGridSummaryItem-WColm dVISaF" data-item="{"dangerousHed":"We Might Have to “Shut Down the Country”","index":6,"contentType":"venue","hotelLink":"https://www.newyorker.com/podcast/the-new-yorker-radio-hour/the-aclu-vs-trump-20#intcid=_the-new-yorker-article-bottom-recirc_cca1e2e0-9ff4-4ef9-a593-a31d3732077c_roberta-similarity1_fallback_cral-top2-2","layout":"GridFourColumns"}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/podcast/the-new-yorker-radio-hour/the-aclu-vs-trump-20#intcid=_the-new-yorker-article-bottom-recirc_cca1e2e0-9ff4-4ef9-a593-a31d3732077c_roberta-similarity1_fallback_cral-top2-2" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-7" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67af68068ef1ba9f2e525c53/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67af68068ef1ba9f2e525c53/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67af68068ef1ba9f2e525c53/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/67af68068ef1ba9f2e525c53/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67af68068ef1ba9f2e525c53/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67af68068ef1ba9f2e525c53/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67af68068ef1ba9f2e525c53/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="We Might Have to “Shut Down the Country”" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67af68068ef1ba9f2e525c53/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dJKpb summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX braSQU rubric rubric--discovery SummaryItemRubric-dguGKN fYiFyD summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">The New Yorker Interview</span></div></div><a class="SummaryItemHedLink-civMjp iksxXg summary-item-tracking__hed-link summary-item__hed-link bottom_recirc-7" data-component-type="recirc-river" data-recirc-id="item-hed-7" data-recirc-pattern="summary-item" href="https://www.newyorker.com/podcast/the-new-yorker-radio-hour/the-aclu-vs-trump-20#intcid=_the-new-yorker-article-bottom-recirc_cca1e2e0-9ff4-4ef9-a593-a31d3732077c_roberta-similarity1_fallback_cral-top2-2" target="_self"><div class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">We Might Have to “Shut Down the Country”</div></a><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/podcast/the-new-yorker-radio-hour/the-aclu-vs-trump-20#intcid=_the-new-yorker-article-bottom-recirc_cca1e2e0-9ff4-4ef9-a593-a31d3732077c_roberta-similarity1_fallback_cral-top2-2" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-7" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67af68068ef1ba9f2e525c53/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67af68068ef1ba9f2e525c53/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67af68068ef1ba9f2e525c53/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/67af68068ef1ba9f2e525c53/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67af68068ef1ba9f2e525c53/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67af68068ef1ba9f2e525c53/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67af68068ef1ba9f2e525c53/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="We Might Have to “Shut Down the Country”" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67af68068ef1ba9f2e525c53/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">Anthony Romero, the A.C.L.U.’s executive director, talks about what he thinks could happen if the Trump Administration defies the authority of the courts.</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">By </span>David Remnick</span></span></span></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff UgVUX summary-item summary-item--ARTICLE summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below-desktop-only summary-item--layout-position-image-right summary-item--layout-proportions-33-66 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard SummaryCollectionGridSummaryItem-WColm dVISaF" data-item="{"dangerousHed":"L&amp;L Hawaiian Barbecue Brings New Yorkers the Plate Lunch","index":7,"contentType":"venue","hotelLink":"https://www.newyorker.com/culture/the-food-scene/l-and-l-hawaiian-barbecue-brings-new-yorkers-the-plate-lunch#intcid=_the-new-yorker-article-bottom-recirc_cca1e2e0-9ff4-4ef9-a593-a31d3732077c_roberta-similarity1_fallback_cral-top2-2","layout":"GridFourColumns"}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/culture/the-food-scene/l-and-l-hawaiian-barbecue-brings-new-yorkers-the-plate-lunch#intcid=_the-new-yorker-article-bottom-recirc_cca1e2e0-9ff4-4ef9-a593-a31d3732077c_roberta-similarity1_fallback_cral-top2-2" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-8" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67abca49b222f22dc34bfc4d/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67abca49b222f22dc34bfc4d/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67abca49b222f22dc34bfc4d/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/67abca49b222f22dc34bfc4d/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67abca49b222f22dc34bfc4d/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67abca49b222f22dc34bfc4d/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67abca49b222f22dc34bfc4d/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="L&L Hawaiian Barbecue Brings New Yorkers the Plate Lunch" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67abca49b222f22dc34bfc4d/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dJKpb summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX braSQU rubric rubric--discovery SummaryItemRubric-dguGKN fYiFyD summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">The Food Scene</span></div></div><a class="SummaryItemHedLink-civMjp iksxXg summary-item-tracking__hed-link summary-item__hed-link bottom_recirc-8" data-component-type="recirc-river" data-recirc-id="item-hed-8" data-recirc-pattern="summary-item" href="https://www.newyorker.com/culture/the-food-scene/l-and-l-hawaiian-barbecue-brings-new-yorkers-the-plate-lunch#intcid=_the-new-yorker-article-bottom-recirc_cca1e2e0-9ff4-4ef9-a593-a31d3732077c_roberta-similarity1_fallback_cral-top2-2" target="_self"><div class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">L&L Hawaiian Barbecue Brings New Yorkers the Plate Lunch</div></a><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/culture/the-food-scene/l-and-l-hawaiian-barbecue-brings-new-yorkers-the-plate-lunch#intcid=_the-new-yorker-article-bottom-recirc_cca1e2e0-9ff4-4ef9-a593-a31d3732077c_roberta-similarity1_fallback_cral-top2-2" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-8" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67abca49b222f22dc34bfc4d/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67abca49b222f22dc34bfc4d/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67abca49b222f22dc34bfc4d/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/67abca49b222f22dc34bfc4d/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67abca49b222f22dc34bfc4d/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67abca49b222f22dc34bfc4d/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67abca49b222f22dc34bfc4d/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="L&L Hawaiian Barbecue Brings New Yorkers the Plate Lunch" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67abca49b222f22dc34bfc4d/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">The Honolulu-based franchise specializes in simple meals that stick to the ribs.</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">By </span>Helen Rosner</span></span></span></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff UgVUX summary-item summary-item--ARTICLE summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below-desktop-only summary-item--layout-position-image-right summary-item--layout-proportions-33-66 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard SummaryCollectionGridSummaryItem-WColm dVISaF" data-item="{"dangerousHed":"The Tragedy and Farce of Luka Dončić’s Trade","index":8,"contentType":"venue","hotelLink":"https://www.newyorker.com/sports/sporting-scene/the-tragedy-and-farce-of-luka-doncics-trade#intcid=_the-new-yorker-article-bottom-recirc_cca1e2e0-9ff4-4ef9-a593-a31d3732077c_roberta-similarity1_fallback_cral-top2-2","layout":"GridFourColumns"}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/sports/sporting-scene/the-tragedy-and-farce-of-luka-doncics-trade#intcid=_the-new-yorker-article-bottom-recirc_cca1e2e0-9ff4-4ef9-a593-a31d3732077c_roberta-similarity1_fallback_cral-top2-2" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-9" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67afc90c8ef1ba9f2e5261f2/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67afc90c8ef1ba9f2e5261f2/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67afc90c8ef1ba9f2e5261f2/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/67afc90c8ef1ba9f2e5261f2/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67afc90c8ef1ba9f2e5261f2/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67afc90c8ef1ba9f2e5261f2/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67afc90c8ef1ba9f2e5261f2/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="The Tragedy and Farce of Luka Dončić’s Trade" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67afc90c8ef1ba9f2e5261f2/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dJKpb summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX braSQU rubric rubric--discovery SummaryItemRubric-dguGKN fYiFyD summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">The Sporting Scene</span></div></div><a class="SummaryItemHedLink-civMjp iksxXg summary-item-tracking__hed-link summary-item__hed-link bottom_recirc-9" data-component-type="recirc-river" data-recirc-id="item-hed-9" data-recirc-pattern="summary-item" href="https://www.newyorker.com/sports/sporting-scene/the-tragedy-and-farce-of-luka-doncics-trade#intcid=_the-new-yorker-article-bottom-recirc_cca1e2e0-9ff4-4ef9-a593-a31d3732077c_roberta-similarity1_fallback_cral-top2-2" target="_self"><div class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">The Tragedy and Farce of Luka Dončić’s Trade</div></a><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/sports/sporting-scene/the-tragedy-and-farce-of-luka-doncics-trade#intcid=_the-new-yorker-article-bottom-recirc_cca1e2e0-9ff4-4ef9-a593-a31d3732077c_roberta-similarity1_fallback_cral-top2-2" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-9" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67afc90c8ef1ba9f2e5261f2/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67afc90c8ef1ba9f2e5261f2/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67afc90c8ef1ba9f2e5261f2/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/67afc90c8ef1ba9f2e5261f2/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67afc90c8ef1ba9f2e5261f2/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67afc90c8ef1ba9f2e5261f2/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67afc90c8ef1ba9f2e5261f2/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="The Tragedy and Farce of Luka Dončić’s Trade" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67afc90c8ef1ba9f2e5261f2/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">The Dallas Mavericks handed their leading man to the Los Angeles Lakers. Now everyone is trying to make it make sense.</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">By </span>Louisa Thomas</span></span></span></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff UgVUX summary-item summary-item--ARTICLE summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below-desktop-only summary-item--layout-position-image-right summary-item--layout-proportions-33-66 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard SummaryCollectionGridSummaryItem-WColm dVISaF" data-item="{"dangerousHed":"The Man Who Captured the Unique Beauty of Snowflakes","index":9,"contentType":"venue","hotelLink":"https://www.newyorker.com/culture/photo-booth/the-man-who-captured-the-unique-beauty-of-snowflakes#intcid=_the-new-yorker-article-bottom-recirc_cca1e2e0-9ff4-4ef9-a593-a31d3732077c_roberta-similarity1_fallback_cral-top2-2","layout":"GridFourColumns"}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/culture/photo-booth/the-man-who-captured-the-unique-beauty-of-snowflakes#intcid=_the-new-yorker-article-bottom-recirc_cca1e2e0-9ff4-4ef9-a593-a31d3732077c_roberta-similarity1_fallback_cral-top2-2" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-10" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67ae2bed066534ea50155555/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67ae2bed066534ea50155555/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67ae2bed066534ea50155555/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/67ae2bed066534ea50155555/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67ae2bed066534ea50155555/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67ae2bed066534ea50155555/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67ae2bed066534ea50155555/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="The Man Who Captured the Unique Beauty of Snowflakes" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67ae2bed066534ea50155555/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dJKpb summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX braSQU rubric rubric--discovery SummaryItemRubric-dguGKN fYiFyD summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">Photo Booth</span></div></div><a class="SummaryItemHedLink-civMjp iksxXg summary-item-tracking__hed-link summary-item__hed-link bottom_recirc-10" data-component-type="recirc-river" data-recirc-id="item-hed-10" data-recirc-pattern="summary-item" href="https://www.newyorker.com/culture/photo-booth/the-man-who-captured-the-unique-beauty-of-snowflakes#intcid=_the-new-yorker-article-bottom-recirc_cca1e2e0-9ff4-4ef9-a593-a31d3732077c_roberta-similarity1_fallback_cral-top2-2" target="_self"><div class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">The Man Who Captured the Unique Beauty of Snowflakes</div></a><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/culture/photo-booth/the-man-who-captured-the-unique-beauty-of-snowflakes#intcid=_the-new-yorker-article-bottom-recirc_cca1e2e0-9ff4-4ef9-a593-a31d3732077c_roberta-similarity1_fallback_cral-top2-2" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-10" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67ae2bed066534ea50155555/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67ae2bed066534ea50155555/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67ae2bed066534ea50155555/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/67ae2bed066534ea50155555/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67ae2bed066534ea50155555/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67ae2bed066534ea50155555/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67ae2bed066534ea50155555/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="The Man Who Captured the Unique Beauty of Snowflakes" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67ae2bed066534ea50155555/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">The microphotographic innovator Wilson Bentley believed that “every crystal was a masterpiece of design.”</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">By </span>Chris Wiley</span></span></span></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff UgVUX summary-item summary-item--ARTICLE summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below-desktop-only summary-item--layout-position-image-right summary-item--layout-proportions-33-66 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard SummaryCollectionGridSummaryItem-WColm dVISaF" data-item="{"dangerousHed":"The Manic Brilliance of “Breakfast of Champions”","index":10,"contentType":"venue","hotelLink":"https://www.newyorker.com/culture/the-front-row/the-manic-brilliance-of-breakfast-of-champions#intcid=_the-new-yorker-article-bottom-recirc_cca1e2e0-9ff4-4ef9-a593-a31d3732077c_roberta-similarity1_fallback_cral-top2-2","layout":"GridFourColumns"}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/culture/the-front-row/the-manic-brilliance-of-breakfast-of-champions#intcid=_the-new-yorker-article-bottom-recirc_cca1e2e0-9ff4-4ef9-a593-a31d3732077c_roberta-similarity1_fallback_cral-top2-2" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-11" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67acfc160785c6025b46bf3b/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67acfc160785c6025b46bf3b/4:3/w_240,c_limit/undefined 240w, 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rubric--discovery SummaryItemRubric-dguGKN fYiFyD summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">The Front Row</span></div></div><a class="SummaryItemHedLink-civMjp iksxXg summary-item-tracking__hed-link summary-item__hed-link bottom_recirc-11" data-component-type="recirc-river" data-recirc-id="item-hed-11" data-recirc-pattern="summary-item" href="https://www.newyorker.com/culture/the-front-row/the-manic-brilliance-of-breakfast-of-champions#intcid=_the-new-yorker-article-bottom-recirc_cca1e2e0-9ff4-4ef9-a593-a31d3732077c_roberta-similarity1_fallback_cral-top2-2" target="_self"><div class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">The Manic Brilliance of “Breakfast of Champions”</div></a><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/culture/the-front-row/the-manic-brilliance-of-breakfast-of-champions#intcid=_the-new-yorker-article-bottom-recirc_cca1e2e0-9ff4-4ef9-a593-a31d3732077c_roberta-similarity1_fallback_cral-top2-2" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-11" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67acfc160785c6025b46bf3b/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67acfc160785c6025b46bf3b/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67acfc160785c6025b46bf3b/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/67acfc160785c6025b46bf3b/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67acfc160785c6025b46bf3b/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67acfc160785c6025b46bf3b/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67acfc160785c6025b46bf3b/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="The Manic Brilliance of “Breakfast of Champions”" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67acfc160785c6025b46bf3b/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">Scorned by critics on its release, in 1999, Alan Rudolph’s Kurt Vonnegut adaptation now emerges as an inspired comic extravaganza, whose very originality was its undoing.</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">By </span>Richard Brody</span></span></span></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff UgVUX summary-item summary-item--ARTICLE summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below-desktop-only summary-item--layout-position-image-right summary-item--layout-proportions-33-66 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard SummaryCollectionGridSummaryItem-WColm dVISaF" data-item="{"dangerousHed":"Celebrating 100 Years: Jia Tolentino and Roz Chast Pick Favorites from the Archive","index":11,"contentType":"venue","hotelLink":"https://www.newyorker.com/podcast/the-new-yorker-radio-hour/celebrating-100-years-jia-tolentino-and-roz-chast-pick-favorites-from-the-archive#intcid=_the-new-yorker-article-bottom-recirc_cca1e2e0-9ff4-4ef9-a593-a31d3732077c_roberta-similarity1_fallback_cral-top2-2","layout":"GridFourColumns"}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/podcast/the-new-yorker-radio-hour/celebrating-100-years-jia-tolentino-and-roz-chast-pick-favorites-from-the-archive#intcid=_the-new-yorker-article-bottom-recirc_cca1e2e0-9ff4-4ef9-a593-a31d3732077c_roberta-similarity1_fallback_cral-top2-2" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-12" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67ae60621525195952d11053/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67ae60621525195952d11053/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67ae60621525195952d11053/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/67ae60621525195952d11053/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67ae60621525195952d11053/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67ae60621525195952d11053/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67ae60621525195952d11053/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="Celebrating 100 Years: Jia Tolentino and Roz Chast Pick Favorites from the Archive" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67ae60621525195952d11053/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dJKpb summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX braSQU rubric rubric--discovery SummaryItemRubric-dguGKN fYiFyD summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">The New Yorker Radio Hour</span></div></div><a class="SummaryItemHedLink-civMjp iksxXg summary-item-tracking__hed-link summary-item__hed-link bottom_recirc-12" data-component-type="recirc-river" data-recirc-id="item-hed-12" data-recirc-pattern="summary-item" href="https://www.newyorker.com/podcast/the-new-yorker-radio-hour/celebrating-100-years-jia-tolentino-and-roz-chast-pick-favorites-from-the-archive#intcid=_the-new-yorker-article-bottom-recirc_cca1e2e0-9ff4-4ef9-a593-a31d3732077c_roberta-similarity1_fallback_cral-top2-2" target="_self"><div class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">Celebrating 100 Years: Jia Tolentino and Roz Chast Pick Favorites from the Archive</div></a><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/podcast/the-new-yorker-radio-hour/celebrating-100-years-jia-tolentino-and-roz-chast-pick-favorites-from-the-archive#intcid=_the-new-yorker-article-bottom-recirc_cca1e2e0-9ff4-4ef9-a593-a31d3732077c_roberta-similarity1_fallback_cral-top2-2" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-12" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/67ae60621525195952d11053/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67ae60621525195952d11053/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67ae60621525195952d11053/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/67ae60621525195952d11053/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/67ae60621525195952d11053/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/67ae60621525195952d11053/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/67ae60621525195952d11053/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="Celebrating 100 Years: Jia Tolentino and Roz Chast Pick Favorites from the Archive" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/67ae60621525195952d11053/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">The staff writer and the cartoonist share their picks from the archive—an essay by Joan Didion, and a caveman cartoon by George Booth—to celebrate <em>The New Yorker’s</em> centennial.</div></div></div></div><div class="SummaryCollectionGridToActionWrapper-gnReGN eGayfk"></div></div></div></div></div></div></div><div data-testid="RowWrapper" class="BaseWrap-sc-gjQpdd RowWrapper-UmqTg iUEiRd HEhan"><div class="TaboolaWrapper-hMVdpE iYfBhy"><div class="TaboolaWidgetWrapper-egPIjc hkSrgt TaboolaWidget-eUSdED hQCCRa" data-testid="TaboolaWidgetWrapper"><div class="TaboolaWidgetContent-iBEQTO eXroXG TABOOLA" id="taboola-below-article-thumbnails---f" data-testid="TaboolaWidgetContent"></div></div></div></div><div data-testid="RowWrapper" 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The fire-breather, who was on loan from a local theatre troupe, nodded and took another swig of kerosene.\nAt thirty-nine, Jia is five feet four and slight. Enveloped in an olive-green parka and black scarf, he walked around the set with his hands plunged deep into his pants pockets, giving him the bearing of a kid skipping school. He was composing the day’s first scene in the shadows beneath a highway overpass, with gangly models positioned among circus characters. The models shivered in parkas and Ugg boots until the final seconds before each shot, when they shed their coats and squeezed their feet into stilettos. Forty-eight hours earlier, Jia had been under palm trees at a gala hosted by the Los Angeles Film Critics Association. “We ate a meal, picked up our awards, and got back on the plane,” he told me. He received awards for Best Foreign-Language Film and for Best Cinematography for “Still Life,” his drama about the social and physical demolition wrought by China’s Three Gorges Dam. (“Still Life” had also received the top prize at the Venice International Film Festival in 2006, and prompted Manohla Dargis, of the Times, to declare Jia “among the most strikingly gifted filmmakers working today whom you have probably never heard of.”)\nJia’s latest feature, “24 City,” an unusual blend of documentary and fiction which tells the story of a factory closing, was set to première in a month in nearly a hundred theatres across China, one of his largest releases yet. The movie had screened at Cannes nearly a year earlier, but since then Jia had been negotiating with Chinese censors about how much he would be forced to cut in order to release it in China. (About two minutes, it turned out, including a scene of workers singing a desultory rendition of the “Internationale.”) In a few weeks, he would release his first book, “Jia Xiang” (“Jia Thinks”), a collection of essays and interviews, followed two weeks later by a second book, a compilation of interviews he has conducted with laborers. Before the end of the year, he is scheduled to begin shooting two new films, and next spring he is slated to be in New York, where the Museum of Modern Art is preparing a full retrospective of his work, the first in more than twenty years that it has devoted to a mainland-Chinese filmmaker, and a remarkable milestone for someone his age. His calendar is booked through 2013.\nOn the political spectrum of Chinese filmmakers, Jia is difficult to place. Neither a dissident nor an entertainer, he makes films that are archly political but sufficiently oblique to obtain theatrical release. The Chinese government is particularly sensitive this year, because it is the twentieth anniversary of the crackdown on demonstrators at Tiananmen Square. Jia’s Esquire spread was designed to look like the nineteen-eighties. When I asked, “What’s with all the fire?” he broke into a mischievous grin and said, “The eighties had a few fires.”\nOnce more, the models shed their coats, and behind them a crew member touched a lighter to an abandoned car drenched in gasoline, and it erupted in flames. The air reeked of hair spray and motor oil. Jia spun around to hustle out of the shot before the flames died down. “Camera! O.K., ready! Go!” It was splendidly bizarre.\nJia would not have had much use for pyrotechnics a few years ago, when he was known for a near-evangelical fidelity to realism. Once, in a student film, he had featured a wordless seven-minute sequence of a man walking on a Beijing street, in order to subject the audience to what he called “a staring test.” His films are so subdued—nonviolent and virtually sexless, filled with long shots, long takes, and restrained dialogue—that when the actress Zhao Tao showed her family “Platform,” her first movie, her parents fell asleep. Yet when Martin Scorsese happened upon a tape of “Xiao Wu,” a decade ago, he experienced what he described to me as “a visceral reaction,” explaining, “The real test of a film is when I look at it—not knowing where it came from, not knowing anything about it—and suddenly you want to make movies again. I think this is really what happened.” Scorsese went on, “It was just so moving, so moving, and so rigorously made.”\nJia works best at night. On set, he has been known to shoot until dawn. He lives by himself in a two-bedroom apartment in central Beijing, but he is rarely at home. (His seven-year marriage to Zhu Jiong, a professor at the Beijing Film Academy, ended in 2006, though she has continued to work as a producer on his films.) He spends most of his time at his studio, in a drab apartment compound near the Beijing Film Academy, where he once studied. The studio has several low-ceilinged offices branching off a main room furnished with Ikea-style desks and chairs. It carries the hint of a boiler-room operation that could be dismantled in a hurry, and seems well-suited to his belief that, even after living in Beijing nearly half his life, he is an interloper. Shanxi Province is “my true China,” he says. “My focus, my concern, my emotional world is there. Beijing is the city where I work and plan films.”\nJia’s relations with the government are tepid. He coöperates with China’s state-run studios for distribution but not for financial backing. He relies on private investors in China, Japan, Hong Kong, and Europe. He also makes an average of ten commercials a year, for Olay, China Mobile, and others.\nJia is not much interested in plot. His attraction to film seems to owe more to the dictum of André Bazin, the French theorist whom he counts as an inspiration, that photography “embalms time.” Jia crams his movies with so many hair styles, pop songs, and news references that they feel like time capsules of the here and now. He has a single, unwavering theme: the liminal space in which individuals try, usually in vain, to move from one life to another—floating migrants, laid-off factory hands, restless teen-agers, all trapped on the margins of China’s boom, with enough technology to glimpse the wider world but no way to reach it. In Jia’s cosmology, trains usually speed out of sight before you can catch them and motorcycles break down. His characters are often inspired by people he grew up with—friends, in his words, “as ignorant and coarse and full of vitality as roadside weeds.” (Before I visited Jia in Shanxi, my only previous trip to the province had been to write about a nearby city that had been ranked as China’s most polluted place. When I asked why the apples on the trees there were covered in plastic bags, a farmer explained that it was to keep them from being stained by the air.)\nLate in the afternoon of the Esquire shoot, Jia and company had moved to a gymnasium, where a few dozen college students were costumed in Mao suits and eighties-style double-breasted jackets. Somewhere in the crowd Jia spotted a pair of modern sneakers, and he stalked over. “Who else is wearing the wrong shoes?” he demanded. “You are all university students! You are capable of checking yourselves!”\nHe glanced at his watch. They were behind schedule and would be skipping dinner. He had been exacting all day, doing so many takes that, at one point, one of the models grumbled to another, “I’ve never seen someone take pictures so slowly.”\nWatching from the side was Zhao Hai, an old friend of Jia’s from middle school who does odd jobs around the set when Jia is back in town. At Fenyang Middle School, they had been among the founding members of a school poetry society they called the Raspy Division, after the new sound of rock and roll.\n“Of the seven of us, he was the best. He had natural ability,” Zhao said. They had published their work in pamphlets cranked out in batches of a hundred on a mimeograph. The poems were hardly subversive stuff—matters of the heart were a recurring theme—but in the stifling confines of their school, Zhao said, they were “a sensation at the time. We were sort of celebrities on campus.”\nUnlike Jia, Zhao never left Shanxi. He works as a graphic designer today and looks older than his years, with white streaks in his hair and a weary expression on his face. “We were all quite talented, but he had persistence,” Zhao said. “For a kid from a small town to become a film director? That’s a distant dream.”\nHis family, though not impoverished, was underfed. They relied so much on cheap sweet potatoes one winter that he still can’t stomach them. Jia’s mother, Zhang Ruiying, worked the counter at a state-run distributor of sugar, cigarettes, and liquor—the rare luxuries of village life. Jia’s father, Jia Liankai, the son of a surgeon, had not been allowed to go to college, because he was classified as a “landlord”; he cultivated a quiet, anonymous life as a local schoolteacher. Even so, Jia Liankai could not escape politics. Once, the school was ordered to meet a quota of identifying three “rightists” among its teachers. “The principal found a way to decide who was a rightist: all the teachers were told to stand on a platform in the playground, shoving each other. The first three who fell to the ground were the ‘rightists,’ ” Jia Zhangke said. “When my father told me this story, many years later, I could still see the fear in his eyes.” Jia’s father wrote poems, which Jia didn’t read until years later. Every one of them, he discovered, was an ode to a political movement, as if his father had assumed that someone would inevitably try to use them against him.\nAs a teen-ager, in the eighties, Jia revelled in China’s sudden influx of new pop culture. He rode the bus for four hours to buy a cassette of Teresa Teng, the empress of Taiwanese love ballads. It felt gloriously subversive, and he eventually sought to capture, in his films, the transformative power of music and imagery. “Before that, the songs we sang were ‘We Are the Heirs of Communism’ and ‘We Workers Have Power.’ It was always ‘we.’ But in Teresa Teng’s song, ‘The Moon Represents My Heart,’ it was about ‘me.’ So, of course, we loved it!”\nHis favorite movie was “Breakin’ ”(1984), a breathtakingly campy break-dancing drama inspired by “West Side Story.” “I watched it seven or eight times. I taught myself the moves,” he said, and he put his skills to use one summer with an itinerant song-and-dance troupe. He graduated from high school the same spring as the Tiananmen Square demonstrations, known in China as the events of June Fourth. The protests were distant, and clouded in official condemnations, but the movement made a searing impression on him. “Although it failed, it didn’t really fail,” he said, “because it took freedom and democracy, individualism, individual rights, all these concepts, and disseminated them to many people, including me.”\nTwo years later, while studying oil painting in Taiyuan, Jia saw the film “Yellow Earth,” by Chen Kaige, which was set on China’s northern plains, close to where Jia grew up. For the first time, he imagined that film could be a way to render the world he knew, and he applied to the Beijing Film Academy. He was rejected—twice. It didn’t help that he knew virtually nothing about film. “In the whole city of Taiyuan, I could find only two books on film,” he said. On his third try, Jia gave up on the directing track and shouldered his way into the academy through the back door, as an auditor in the less competitive theory program. When he arrived, in 1993, he was older than most of his classmates. To Jia, “they were all children” and he felt out of place. His country roots set him further apart from privileged urban students, who used the word “farmer” to tease one another. Jia moonlighted as a TV ghostwriter, but once went unpaid after writing a twenty-part drama, and the experience left him with “a profound suspicion of people.” On his balcony at home, he still keeps the set of cheap porcelain cups that he received as compensation for the script.\nJia immersed himself in films from Taiwan and Europe, often watching three a day. Those which he could not find in the school archives he found on the street, as pirated V.H.S. tapes. He often pedalled his bicycle across town to watch screenings at a French cultural center in Beijing. He revered Hou Hsiao-Hsien, the Taiwanese master whose long takes and wide-angle shots eventually shaped Jia’s style. He admired Vittorio De Sica and Michelangelo Antonioni, but none of those influences affected Jia as deeply as Robert Bresson, whose use of nonprofessional actors Jia first encountered in “A Man Escaped” (1956). “Bresson took plot, photography, and performance, and one by one he negated them, leaving only the purity of the film,” Jia has said. “It was the first time that I ever felt the charm of time itself, and understood a kind of transcendent amusement with the spirit of film.”\nOne night, Jia and some friends were walking home from another dreary studio picture when Jia said, “Let’s make a movie—the kind of movie we want to make.” As his friend Gu Zheng later recalled, in an essay that lends the night some cinematic drama, one of them smashed a beer bottle, and it sounded, to Gu, like “our manifesto.” They named themselves the Beijing Film Academy Youth Experimental Film Group.\nJia wrote a script called “Xiao Shan Going Home,” about a cook trying to get to Henan for Chinese New Year, and he cast his classmate Wang Hongwei in the lead. It was an improbable choice—a professor had recently pronounced Wang to be the worst actor in the class—but Jia liked Wang’s low-key approach, and he rounded out the cast with other nonprofessionals, including one guy who had to be persuaded over a bottle of Erguotou, China’s cheap grain alcohol. When they screened the film, classmates were unimpressed. They said it was crudely edited, and they disapproved of Jia’s use of regional dialects instead of standard Mandarin. (At the time, Chinese films and television were required to use standard Mandarin.) When Jia tried to screen it at Beijing Normal University, he was told that the film had “anti-social tendencies.” But a film journalist urged Jia to enter his film in the Hong Kong Independent Short Film & Video Awards. As a mainlander, Jia had had trouble meeting the eligibility requirements, and had to play up the role of a Hong Kong citizen who was part of the production in order to enter. The film took first place.\nThey headed to Shanxi to make a film, and when they reached Jia’s home town, Fenyang, Jia was overwhelmed by the changes that were unfolding. “Many of my old classmates were married with kids but now getting divorced, or they were clashing with their parents. Traditional values were crumbling. Money was at the center of everything,” he said. A classmate-turned-cop told Jia about a childhood friend, the man they called Donkey, who had ended up as a petty thief. Inspired, Jia wrote “Xiao Wu,” about a pickpocket—a subject his idol Bresson had also dealt with.\nThe crew slept ten to a room in a local hostel. The set had few lights and no video monitors to show what the cameraman was filming. If that wasn’t hard enough, Jia encouraged his nonprofessional actors to veer off the script if it felt stilted, and they were so often out of position or improvising that Yu and Jia began to use long takes partly to accommodate them. As a rebuke to the polished audio tracks of other Chinese films, Jia told the sound engineer to leave in as much authentic random sound as possible—car horns, loudspeakers, pop music. The engineer finally quit, claiming that the film would tarnish her reputation.\nWhen “Xiao Wu” was screened in Beijing, professors at the film academy were uninterested. But other intellectuals regarded it as groundbreaking. In contrast to the epic historical Chinese dramas that were popular at the time, Jia had revealed a bitterly unadorned image of contemporary life and its discontents. To older Chinese admirers especially, the film’s honesty was bittersweet. “We had been forbidden from telling the truth for such a long time that once we were allowed to do so, we did not know how to tell the truth,” the painter Chen Danqing wrote of the film. It won awards at festivals in Berlin, Pusan, San Francisco, Vancouver, and elsewhere, but China’s censors—the State Administration of Radio, Film, and Television—were readying their response. On January 13, 1999, Chinese authorities banned Jia from making films. His name was placed on a blacklist that was circulated to equipment shops. No one would rent him a camera, and no processor would develop his film. He was twenty-nine.\nWhile scouting for an actress who could speak the local dialect, Jia visited a dance class at the Taiyuan Teachers College, where he noticed a tough-minded instructor, Zhao Tao, who came from a steel-mill family. She saw him staring. “I was thinking, What’s up with this guy?” she told me. Jia introduced himself and Zhao agreed to try acting, though she had been sufficiently spooked by casting-couch stories that she arrived on set with a stun gun. She eventually became his muse, and acted in five more of his feature films.\n“Platform,” which begins in 1979, as the Cultural Revolution is giving way to reform, opens on a village audience crowded around a stage for a performance of a Communist musical about Mao’s birthplace, “A Train Travelling Toward Shaoshan.” (It included melodies that Jia’s sister had performed on her violin growing up.) In the opening scene, the young members of the Peasant Culture Group from Fenyang pantomime a whistling, chugging train moving across the stage, but after the show their boss berates troupe member Cui Mingliang (portrayed by Jia’s former classmate Wang) for his feeble attempt at engine noises. Cui concedes, “I don’t know how trains sound.”\nThe film follows Cui and others for a decade, as they traverse not only the Chinese countryside but also eons of cultural and political transformation. When Cui wears his first pair of bell-bottoms, his father, a laborer, demands to see if he can squat in them. “I’m an art worker! No manual labor,” Cui protests.\n“Platform” conveys an unglamorous view of China’s lurch into the free market. At one point, an illiterate coal miner is asked to sign a contract that reads:\n\nLife and death are questions of fate. I’m willing to work in Gao’s mine. Management accepts no blame for accidents. . . .\n\n“Platform” ends in 1989, at the dawn of another new era; the cultural work team, now privatized and renamed the All-Star Rock n’ Breakdance Electronic Band, is doomed, soon to be replaced by televisions as entertainment in the villages.\nWhen he finished shooting “Platform,” Jia confronted the problem of how to edit the film in secret. “We dared not process the film in China, because all the laboratories were owned by the government,” Chow Keung, the associate producer, who has served as executive producer of many Jia films, recalled. Chow saw no choice but to pack up the footage and smuggle it through customs at the walk-over border with Hong Kong. Chow was terrified. “Sometimes I had to hand-carry it,” he said.\n“Platform” premièred at the Venice film festival, and went on to win more than half a dozen major prizes around the globe. Writing in Film Comment, Kent Jones compared Jia’s mastery of his moment in time to Godard’s in the sixties and Altman’s in the seventies. Jia was a full-blown film-festival celebrity. He dedicated the film to his father, and returned to Shanxi to screen it for him. As they watched together, his father’s unease was palpable. “He said, ‘I envy you, because you can write about yourself,’ ” Jia told me. “But he also worried about me.”\nDespite his success abroad, Jia was increasingly dispirited. He was working at a furious pace: he followed “Platform” with “In Public,” his first documentary, a sublime short—shot in a train station, a dance hall, and other locales—and “Unknown Pleasures,” a feature about restless, disillusioned youths in a rust-belt town. But in China his films could be found only on pirated disks or at small screenings in bars. He felt powerless. “My motivation for making films was not simply a love of movies but also a sense of idealism, a hope that I could help to change society.” He had come to see Chinese directors as “carnies,” as he put it—knife-jugglers with little to show for their risks—and he considered abandoning cinema. On a trip to New York, he visited Martin Scorsese at his office and said he might quit making movies. “I said, ‘You can’t do that!’ ” Scorsese recalled. “ ‘You’re going to have to go on. You’re going to have to really push through.’ ”\nFor a year, Jia shot nothing. He returned to Shanxi and spent weeks with old friends. They still called him Lailai, and harangued him for not having children yet. It was restorative, and, over time, Jia’s conception of his place at the intersection of culture and politics began evolving as well. “I realized that the power of a single individual is truly limited, but culture itself is powerful,” he said. “You discover that there are people in journalism, literature, painting, all trying to do the same thing.”\nFor his first legal film, “The World,” Jia departed from Shanxi to tell the story of workers in a real-life Beijing theme park, where tourists could climb a miniature Eiffel Tower or be photographed in front of an ersatz World Trade Center. In an aesthetic break, he laced the film with a series of lushly colored animated sequences intended to convey the sheer strangeness of the place. It was Jia’s biggest production yet, with a budget of more than a million dollars, but though it was a critical success in the United States and elsewhere, Jia was disappointed by the muted impact at home. He flew west to the Three Gorges Dam, the mammoth hydroelectric project spanning the Yangtze, to make a documentary about the contemporary artist Liu Xiaodong, who was painting scenes of local workers. But, as Jia shot the documentary, which was later entitled “Dong,” the sight of two-thousand-year-old towns being demolished inspired a feature as well—“Still Life”—which Jia wrote over three days, holed up in his hotel. He cast his cousin, Han Sanming, as a coal miner in search of an estranged wife. To appear in the film, Han took a break from his real job, as a coal miner in Fenyang; after shooting, he returned to the mine.\nJia began to grow frustrated with the limitations imposed by realism. He had come to believe that China’s transformations were so fast and mind-bending that putting them on film virtually demanded surrealism. In “Still Life,” a building launches into the air like a rocket, and a flying saucer zips across the sky. (As Jia has explained to a film magazine, China’s “official speeches and pictures are like U.F.O.s that never touch the ground.”) At their best, the effects make the distinction between real and unreal irrelevant: the final shot of “Still Life”—a lone figure silhouetted against the sky, balancing on a tightrope between buildings, an image that often strikes me as a fitting metaphor for Jia himself—looks scarcely stranger than anything before it.\nThe production was draining. When Zhao Tao, who was playing the role of a nurse searching for her gallivanting husband, was not giving the subdued performance that Jia wanted, he secretly told the crew to ignore her or do whatever they could to make her miserable. She nearly quit the production before Jia let her in on the ruse. (“That was evil,” he said later, then added, “It worked.”) The budget had called for two or three trips to the gorges, but Jia was unhappy with his attempts to capture the scale of the transformation, and he insisted on making six trips. Costs mounted. A French investor pulled out. “We were nearly bankrupt,” Chow, the producer, said. They raised more money, but while racing to finish the film in time for the Venice festival, Jia received a call from his sister: their father had been given a diagnosis of late-stage lung cancer. Jia stayed at the hospital for weeks. When his father died, in March of 2006, Jia’s dominant emotion was guilt, for having invested so much more energy in his films than in his family. “When he died, it was like I suddenly grew up,” Jia said.\nHis absorption in his work was also dooming his marriage. Jia and Zhu Jiong were seldom in the same city. They parted amicably. Jia still blames himself: “I was not responsible enough to her. She was too lonely.”\nThat September, “Still Life” took the top prize in Venice, making Jia only the second mainland-Chinese director to win it, after Zhang Yimou, the director of “Ju Dou” (1990) and “Raise the Red Lantern” (1991). But as Jia prepared to release “Still Life” in China, his frustration with the film establishment—and with Zhang Yimou in particular—boiled over. Jia accused China’s older filmmakers of churning out big-budget action pictures that neglected the country’s mounting social problems. “When faced with the complexity of real society, their hands and feet quiver, and they deliriously shoot a bunch of childish fairy tales,” Jia wrote in an essay. He blamed a blockbuster mentality for preventing films like his from reaching a wider audience. To emphasize the point, he premièred “Still Life” on the same day that Zhang unveiled “Curse of the Golden Flower,” a forty-five-million-dollar palace drama that was said to be China’s priciest production to date. “In this era of worshipping gold, who is still interested in good people?” Jia said to reporters. In response, Zhang’s producer was quoted as saying that Jia was “sick with revenge against the rich.”\n“Still Life” did poorly in Chinese theatres, just as Jia expected. Two years later, he remains embittered, and is especially critical of Zhang Yimou’s coziness with the Chinese government. (In 2002, Zhang premièred his martial-arts film “Hero” at the Great Hall of the People, the home of the Party-run legislature, and he designed the opening ceremony of the 2008 Beijing Olympics.) “Since ‘Hero,’ I have not liked his films,” Jia told me one night as we sat in the lobby of a multiplex, between screenings. “Not because they are kung-fu movies—I like kung-fu movies—but because the film underscores power, that we should ‘bow down’ before power! For ‘harmony in the world,’ we should give up individual fights and efforts. The ‘authority of power,’ the focus of his films, is what makes me extremely uncomfortable.”\nAfter the host gave a routine round of praise, the first question from the audience asked Jia, pointedly, “Was the decision to use movie stars made with the market in mind?” Another questioner asked if Jia had avoided harder-hitting stories of truly abject poverty because he wouldn’t get them approved. In an armchair onstage, Jia pursed his lips and looked wounded. “If this group is marginalized,” he said, “then their faces, their language, their food, their living conditions, their homes, their expressions—all of that—is erased from the screen, to zero. Anything I can do to hold on to them and make people see them onscreen is the most important thing I can do! Otherwise, they’re silenced!”\nWhen I asked Zhang Xianmin, a well-known independent filmmaker who teaches at Beijing Film Academy, to sum up his disaffection with Jia’s career path, he said, “There is a phase when Jia’s subject was the absolute pursuit of freedom. But I think, quite clearly, that period finished with ‘Unknown Pleasures’ ”—the last film that Jia made without government approval.\nAs Zhang sees it, Jia’s decision to seek theatrical release and submit to censorship has ceded the vanguard of China’s most politically challenging cinema to a new crop of filmmakers, who work with low-cost digital equipment and never bother to seek government approval. Those films are shown overseas and at a series of low-profile but thriving festivals in China. Typical of this new batch are documentaries such as Zhao Liang’s “Crime and Punishment,” about interrogation tactics at a remote police station, and Zhao Dayong’s “Ghost Town,” which records the poverty and cultural desolation of a mountain village far from China’s boomtowns.\nMost of those films have such tiny audiences that authorities rarely bother to interfere, except when the subject is acutely sensitive. When YunFest, a festival in Yunnan Province, scheduled a screening last year of “Though I Am Gone,” a low-budget historical documentary about a schoolteacher in Beijing who was beaten to death by Red Guards during the Cultural Revolution, authorities, at the last minute, pressured organizers to postpone the festival. (It later convened and showed the film in another city in Yunnan.) In the past, the maker of that film, Hu Jie, has described being visited by state security agents who asked about his work, yet, in a sign of how China’s control of filmmaking has slackened from a decade ago, Hu has continued to make films.\nLikewise, China’s bans on filmmakers are not what they once were. The prominent director Lou Ye was banned from filmmaking for five years after “Summer Palace” (2006), a sexually explicit drama set amid the Tiananmen Square demonstrations, was submitted at Cannes before receiving government approval. And yet, midway through the ban, Lou is hard at work; his latest film, “Spring Fever,” is slated to appear in May at Cannes.\nChinese authorities seem to have concluded that art films, screened at festivals for urbane, like-minded audiences, have limited social impact. And, in a sense, Jia has reached the same conclusion. He believes his social critique is strongest not as a protester on the sidelines but as a legal—and marketable—filmmaker. “If we keep filming ordinary workers, that will heighten sympathy and concern for them, and they, in turn, will get closer to freedom,” Jia told me. “In the early eighties, many directors made films about women’s rights—about their confinement, their unhappy marriages—and, through those films, Chinese people realized that women must be respected and treated equally.” Yu, the cinematographer, summed up Jia’s strategy for addressing sensitive issues as “the intelligence to be politically critical but in a more discreet sense.”\nJia is an auteur with aspirations of populism. (“It’s part of a director’s job to communicate his works to others,” he told me.) But it’s not yet clear if he can win China’s audience away from martial-arts extravaganzas and mindless comedies without losing the artistic and political energy that got him where he is. By March, with “24 City” still in theatres, he was immersed in his next projects: a historical documentary about Shanghai and a feature, a kung-fu movie set at the turn of the twentieth century—or, as he called it, “an anti-kung-fu movie.” (“In most movies, kung fu is all-powerful, but in my film it’s getting weaker and weaker,” he said.) After more than a decade of chronicling contemporary China, he is increasingly focussed on correcting distortions of Chinese history, even if that is guaranteed to draw official scrutiny. “Topics like the Cultural Revolution, June Fourth, and the anti-rightist campaign are not permitted to be made into films,” he told me. “But those incidents affect China today. People are forgetting them. Today’s young people don’t even know what happened. On one hand, I want to record what’s happening in China now, but I feel an urgent need to know more about history.”\nJia’s plans seemed destined to attract criticism: from the government, for exploring China’s most sensitive historical chapters, and from art-film fans, for making a kung-fu movie. He hardly seems to mind. He has come to inhabit a limbo of his own making, and that status has put him at odds with both worlds. “My expression, my view on history, my view on the truth must be independent,” he says, “but I tell myself not to get marginalized, because being marginalized means you can’t do anything. Marginalization can be a kind of pleasant stance—I really admire many of those people—but I would rather expend enormous energy trying to dance with the many levels of the era in which we live.” ♦","isBasedOn":"https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2009\u002F05\u002F11\u002Fthe-long-shot","articleSection":"a reporter at large","author":[{"@type":"Person","name":"Evan Osnos","sameAs":"https:\u002F\u002Fwww.newyorker.com\u002Fcontributors\u002Fevan-osnos"}],"dateModified":"2009-05-04T00:00:00.000-04:00","datePublished":"2009-05-03T20:00:00.000-04:00","headline":"The Long Shot","image":["https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F590975d7ebe912338a377ade\u002Fmaster\u002Fw_646,h_859,c_limit\u002F090511_r18448_p646.jpg"],"keywords":["a reporter at large","24 city","censorship","china","chinese","hero","jia zhangke","movie directors","platform","robert bresson","still life","the world","three gorges dam","magazine"],"thumbnailUrl":"","url":"https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2009\u002F05\u002F11\u002Fthe-long-shot","isPartOf":{"@type":"CreativeWork","name":"The New Yorker"},"isAccessibleForFree":true,"alternativeHeadline":"Can China’s archly political auteur please the censors and himself—and still find a mass audience?","description":"Can China’s archly political auteur please the censors and himself—and still find a mass audience?","mainEntityOfPage":{"@type":"WebPage","@id":"https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F2009\u002F05\u002F11\u002Fthe-long-shot"},"publisher":{"@context":"https:\u002F\u002Fschema.org","@type":"Organization","name":"The New Yorker","logo":{"@type":"ImageObject","url":"https:\u002F\u002Fwww.newyorker.com\u002Fverso\u002Fstatic\u002Fthenewyorker-us\u002Fassets\u002Fthe-new-yorker-seo-logo.jpg","width":"1200px","height":"630px"},"url":"https:\u002F\u002Fwww.newyorker.com"}},{"@context":"https:\u002F\u002Fschema.org\u002F","@type":"BreadcrumbList","itemListElement":[{"@type":"ListItem","position":1,"name":"Magazine","item":"https:\u002F\u002Fwww.newyorker.com\u002Fmagazine"},{"@type":"ListItem","position":2,"name":"24 City","item":"https:\u002F\u002Fwww.newyorker.com\u002Ftag\u002F24-city"},{"@type":"ListItem","position":3,"name":"The Long Shot"}]}],"head.contentID":"5911c80e4c70ae57429ab128","head.pageType":"article","head.photos":{"image-16-9":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F590975d7ebe912338a377ade\u002F16:9\u002Fw_1000,c_limit\u002F090511_r18448_p646.jpg","image-1-1":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F590975d7ebe912338a377ade\u002F1:1\u002Fw_1000,c_limit\u002F090511_r18448_p646.jpg"},"head.firstPublishDate":"2009-05-04T00:00:00.000Z","head.primaryTagsRoot":"tags","head.hasSponsoredContent":false,"head.modifiedDate":"2009-05-04T04:00:00.000Z","head.noIndex":false,"linkBannerData":{"bannerType":"marquee","dek":"","hed":"","image":{},"links":[],"tracking":{"trackingIdentifier":"","attributes":{}}},"linkBannerId":[],"navigation":{"aboutText":"The writers you love. 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has-dropcap__lead-standard-heading"},"Just after dawn on a frigid plateau in northern China, the director Jia Zhangke was having trouble with a scene involving a fire-breather. The fireballs were coming out of the man’s mouth a foot too low, and were obscuring other faces in the shot. This was Jia’s inaugural effort at fashion photography. Twelve years after he débuted, with “Xiao Wu,” his award-winning student feature about a pickpocket, Jia had been hired by the Chinese edition of ",["em","Esquire"]," to shoot a spread called “Beijing Spring.” It was to be a fantastical homage to his aesthetic, with characters inspired by his films mingled among curiosities. The magazine had brought Jia and his crew back to the coal country of Shanxi Province, where he grew up and shot his first films."]],["p",{"class":"paywall"},"After the third unsatisfying take, Jia jogged out from behind the camera and, with a gloved hand, traced an imaginary target high above the head of an actress dressed as a clown. The fire-breather, who was on loan from a local theatre troupe, nodded and took another swig of kerosene."],["p",{"class":"paywall"},"At thirty-nine, Jia is five feet four and slight. Enveloped in an olive-green parka and black scarf, he walked around the set with his hands plunged deep into his pants pockets, giving him the bearing of a kid skipping school. He was composing the day’s first scene in the shadows beneath a highway overpass, with gangly models positioned among circus characters. The models shivered in parkas and Ugg boots until the final seconds before each shot, when they shed their coats and squeezed their feet into stilettos. Forty-eight hours earlier, Jia had been under palm trees at a gala hosted by the Los Angeles Film Critics Association. “We ate a meal, picked up our awards, and got back on the plane,” he told me. He received awards for Best Foreign-Language Film and for Best Cinematography for “Still Life,” his drama about the social and physical demolition wrought by China’s Three Gorges Dam. (“Still Life” had also received the top prize at the Venice International Film Festival in 2006, and prompted Manohla Dargis, of the ",["em","Times"],", to declare Jia “among the most strikingly gifted filmmakers working today whom you have probably never heard of.”)"],["journey-inline-newsletter",{"newsletterType":"slim-newsletter","newsletters":[]}],["inline-newsletter",{"newsletterType":"slim-newsletter","newsletters":[]}],["p",{"class":"paywall"},"Jia’s latest feature, “24 City,” an unusual blend of documentary and fiction which tells the story of a factory closing, was set to première in a month in nearly a hundred theatres across China, one of his largest releases yet. The movie had screened at Cannes nearly a year earlier, but since then Jia had been negotiating with Chinese censors about how much he would be forced to cut in order to release it in China. (About two minutes, it turned out, including a scene of workers singing a desultory rendition of the “Internationale.”) In a few weeks, he would release his first book, “Jia Xiang” (“Jia Thinks”), a collection of essays and interviews, followed two weeks later by a second book, a compilation of interviews he has conducted with laborers. Before the end of the year, he is scheduled to begin shooting two new films, and next spring he is slated to be in New York, where the Museum of Modern Art is preparing a full retrospective of his work, the first in more than twenty years that it has devoted to a mainland-Chinese filmmaker, and a remarkable milestone for someone his age. His calendar is booked through 2013."],["p",{"class":"paywall"},"On the political spectrum of Chinese filmmakers, Jia is difficult to place. Neither a dissident nor an entertainer, he makes films that are archly political but sufficiently oblique to obtain theatrical release. The Chinese government is particularly sensitive this year, because it is the twentieth anniversary of the crackdown on demonstrators at Tiananmen Square. Jia’s ",["em","Esquire"]," spread was designed to look like the nineteen-eighties. When I asked, “What’s with all the fire?” he broke into a mischievous grin and said, “The eighties had a few fires.”"],["p",{"class":"paywall"},"Once more, the models shed their coats, and behind them a crew member touched a lighter to an abandoned car drenched in gasoline, and it erupted in flames. The air reeked of hair spray and motor oil. Jia spun around to hustle out of the shot before the flames died down. “Camera! O.K., ready! Go!” It was splendidly bizarre."],["cm-unit"],["p",{"class":"paywall"},"Jia would not have had much use for pyrotechnics a few years ago, when he was known for a near-evangelical fidelity to realism. Once, in a student film, he had featured a wordless seven-minute sequence of a man walking on a Beijing street, in order to subject the audience to what he called “a staring test.” His films are so subdued—nonviolent and virtually sexless, filled with long shots, long takes, and restrained dialogue—that when the actress Zhao Tao showed her family “Platform,” her first movie, her parents fell asleep. Yet when Martin Scorsese happened upon a tape of “Xiao Wu,” a decade ago, he experienced what he described to me as “a visceral reaction,” explaining, “The real test of a film is when I look at it—not knowing where it came from, not knowing anything about it—and suddenly you want to make movies again. I think this is really what happened.” Scorsese went on, “It was just so moving, so moving, and so rigorously made.”"],["p",{"class":"paywall"},"Jia works best at night. On set, he has been known to shoot until dawn. He lives by himself in a two-bedroom apartment in central Beijing, but he is rarely at home. (His seven-year marriage to Zhu Jiong, a professor at the Beijing Film Academy, ended in 2006, though she has continued to work as a producer on his films.) He spends most of his time at his studio, in a drab apartment compound near the Beijing Film Academy, where he once studied. The studio has several low-ceilinged offices branching off a main room furnished with Ikea-style desks and chairs. It carries the hint of a boiler-room operation that could be dismantled in a hurry, and seems well-suited to his belief that, even after living in Beijing nearly half his life, he is an interloper. Shanxi Province is “my true China,” he says. “My focus, my concern, my emotional world is there. 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He coöperates with China’s state-run studios for distribution but not for financial backing. He relies on private investors in China, Japan, Hong Kong, and Europe. He also makes an average of ten commercials a year, for Olay, China Mobile, and others."],["p",{"class":"paywall"},"Jia is not much interested in plot. His attraction to film seems to owe more to the dictum of André Bazin, the French theorist whom he counts as an inspiration, that photography “embalms time.” Jia crams his movies with so many hair styles, pop songs, and news references that they feel like time capsules of the here and now. He has a single, unwavering theme: the liminal space in which individuals try, usually in vain, to move from one life to another—floating migrants, laid-off factory hands, restless teen-agers, all trapped on the margins of China’s boom, with enough technology to glimpse the wider world but no way to reach it. In Jia’s cosmology, trains usually speed out of sight before you can catch them and motorcycles break down. His characters are often inspired by people he grew up with—friends, in his words, “as ignorant and coarse and full of vitality as roadside weeds.” (Before I visited Jia in Shanxi, my only previous trip to the province had been to write about a nearby city that had been ranked as China’s most polluted place. When I asked why the apples on the trees there were covered in plastic bags, a farmer explained that it was to keep them from being stained by the air.)"],["inline-embed",{"type":"cneinterlude","props":{"brand":"newyorker","embeddedVideos":[],"hasExcludedEmbed":false,"playerBase":"https:\u002F\u002Fplayer.cnevids.com","isRightRail":false,"relatedVideo":{"showRelatedVideo":false,"brand":"newyorker","related":null,"pageSize":12}}}],["p",{"class":"paywall"},"Late in the afternoon of the ",["em","Esquire"]," shoot, Jia and company had moved to a gymnasium, where a few dozen college students were costumed in Mao suits and eighties-style double-breasted jackets. Somewhere in the crowd Jia spotted a pair of modern sneakers, and he stalked over. “Who else is wearing the wrong shoes?” he demanded. “You are all university students! You are capable of checking yourselves!”"],["ad",{"position":"mid-content"}],["p",{"class":"paywall"},"He glanced at his watch. They were behind schedule and would be skipping dinner. He had been exacting all day, doing so many takes that, at one point, one of the models grumbled to another, “I’ve never seen someone take pictures so slowly.”"],["p",{"class":"paywall"},"Watching from the side was Zhao Hai, an old friend of Jia’s from middle school who does odd jobs around the set when Jia is back in town. At Fenyang Middle School, they had been among the founding members of a school poetry society they called the Raspy Division, after the new sound of rock and roll."],["p",{"class":"paywall"},"“Of the seven of us, he was the best. He had natural ability,” Zhao said. They had published their work in pamphlets cranked out in batches of a hundred on a mimeograph. The poems were hardly subversive stuff—matters of the heart were a recurring theme—but in the stifling confines of their school, Zhao said, they were “a sensation at the time. We were sort of celebrities on campus.”"],["p",{"class":"paywall"},"Unlike Jia, Zhao never left Shanxi. He works as a graphic designer today and looks older than his years, with white streaks in his hair and a weary expression on his face. “We were all quite talented, but he had persistence,” Zhao said. “For a kid from a small town to become a film director? That’s a distant dream.”"],["inline-embed",{"props":{"name":"dropcap","attrs":{},"childTypes":[]},"ref":"","type":"callout:dropcap"},["p",{"class":"has-dropcap has-dropcap__lead-standard-heading paywall"},"Jia was barely old enough to walk when his mother nicknamed him Lailai—the little scoundrel. Compared with his sister Zhang Hong—a well-behaved violinist, six years older—Jia was a precocious connoisseur of the street. “Life had so little content, so little entertainment,” he says, that “fighting became entertainment. I would go to the bus station near my home, where fights happened every day. You just waited there, and something was guaranteed to happen. Somebody’s head would get busted, and then I would follow them to the hospital to watch them get bandaged. That’s how bored we were.” He became obsessed with escaping Fenyang. When he was old enough to ride a bike, he cycled ten miles just to catch a glimpse of a passing train, which looked to him like a symbol of “the faraway world, the future, hope.” He did not see an ocean until he was twenty-six."]],["p",{"class":"paywall"},"His family, though not impoverished, was underfed. They relied so much on cheap sweet potatoes one winter that he still can’t stomach them. Jia’s mother, Zhang Ruiying, worked the counter at a state-run distributor of sugar, cigarettes, and liquor—the rare luxuries of village life. Jia’s father, Jia Liankai, the son of a surgeon, had not been allowed to go to college, because he was classified as a “landlord”; he cultivated a quiet, anonymous life as a local schoolteacher. Even so, Jia Liankai could not escape politics. Once, the school was ordered to meet a quota of identifying three “rightists” among its teachers. “The principal found a way to decide who was a rightist: all the teachers were told to stand on a platform in the playground, shoving each other. The first three who fell to the ground were the ‘rightists,’ ” Jia Zhangke said. “When my father told me this story, many years later, I could still see the fear in his eyes.” Jia’s father wrote poems, which Jia didn’t read until years later. Every one of them, he discovered, was an ode to a political movement, as if his father had assumed that someone would inevitably try to use them against him."],["p",{"class":"paywall"},"As a teen-ager, in the eighties, Jia revelled in China’s sudden influx of new pop culture. He rode the bus for four hours to buy a cassette of Teresa Teng, the empress of Taiwanese love ballads. It felt gloriously subversive, and he eventually sought to capture, in his films, the transformative power of music and imagery. “Before that, the songs we sang were ‘We Are the Heirs of Communism’ and ‘We Workers Have Power.’ It was always ‘we.’ But in Teresa Teng’s song, ‘The Moon Represents My Heart,’ it was about ‘me.’ So, of course, we loved it!”"],["p",{"class":"paywall"},"His favorite movie was “Breakin’ ”(1984), a breathtakingly campy break-dancing drama inspired by “West Side Story.” “I watched it seven or eight times. I taught myself the moves,” he said, and he put his skills to use one summer with an itinerant song-and-dance troupe. He graduated from high school the same spring as the Tiananmen Square demonstrations, known in China as the events of June Fourth. The protests were distant, and clouded in official condemnations, but the movement made a searing impression on him. “Although it failed, it didn’t really fail,” he said, “because it took freedom and democracy, individualism, individual rights, all these concepts, and disseminated them to many people, including me.”"],["inline-embed",{"props":{"name":"inset-left","attrs":{},"childTypes":["cartoon"]},"ref":"","type":"callout:inset-left"},["inline-embed",{"props":{"image":{"id":"593b6627c195de33cba5919a","altText":"The Long Shot","contentType":"cartoon","sources":{"sm":{"width":640,"url":"https:\u002F\u002Fmedia.newyorker.com\u002Fcartoons\u002F593b6627c195de33cba5919a\u002Fmaster\u002Fw_640,c_limit\u002F090511_a13994_p465.jpg","srcset":"https:\u002F\u002Fmedia.newyorker.com\u002Fcartoons\u002F593b6627c195de33cba5919a\u002Fmaster\u002Fw_120,c_limit\u002F090511_a13994_p465.jpg 120w, 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Email"},{"network":"store","url":"https:\u002F\u002Fcondenaststore.com\u002Fconde-nast-brand\u002Fcartoons","label":"Get in store"},{"network":"canonical","url":"https:\u002F\u002Fwww.newyorker.com\u002Fcartoon\u002Fa13994","label":"a13994"}]}},"level":"block","ref":"593b6627c195de33cba5919a","type":"cartoon"}]],["p",{"class":"paywall"},"Two years later, while studying oil painting in Taiyuan, Jia saw the film “Yellow Earth,” by Chen Kaige, which was set on China’s northern plains, close to where Jia grew up. For the first time, he imagined that film could be a way to render the world he knew, and he applied to the Beijing Film Academy. He was rejected—twice. It didn’t help that he knew virtually nothing about film. “In the whole city of Taiyuan, I could find only two books on film,” he said. On his third try, Jia gave up on the directing track and shouldered his way into the academy through the back door, as an auditor in the less competitive theory program. When he arrived, in 1993, he was older than most of his classmates. To Jia, “they were all children” and he felt out of place. His country roots set him further apart from privileged urban students, who used the word “farmer” to tease one another. Jia moonlighted as a TV ghostwriter, but once went unpaid after writing a twenty-part drama, and the experience left him with “a profound suspicion of people.” On his balcony at home, he still keeps the set of cheap porcelain cups that he received as compensation for the script."],["inline-embed",{"props":{"name":"dropcap","attrs":{},"childTypes":[]},"ref":"","type":"callout:dropcap"},["p",{"class":"has-dropcap has-dropcap__lead-standard-heading paywall"},"Jia had arrived at film school admiring the films of Chen Kaige, whose “Farewell My Concubine” (1993) had recently won the Palme d’Or at Cannes, but after watching some more high-profile period dramas he grew disenchanted with their allegories and their distance from contemporary life. The Chinese film industry was so uninspiring that audiences had largely abandoned the cinema. Lin Xudong, a documentary editor who later became one of Jia’s artistic advisers, recalled that one day he’d bought a ticket for a new film, but, after he’d taken his seat, the clerk told him it would not be screened. “Only one ticket had been sold,” he said. “If I wanted to watch the movie, I would need three people in the audience.”"]],["p",{"class":"paywall"},"Jia immersed himself in films from Taiwan and Europe, often watching three a day. Those which he could not find in the school archives he found on the street, as pirated V.H.S. tapes. He often pedalled his bicycle across town to watch screenings at a French cultural center in Beijing. He revered Hou Hsiao-Hsien, the Taiwanese master whose long takes and wide-angle shots eventually shaped Jia’s style. He admired Vittorio De Sica and Michelangelo Antonioni, but none of those influences affected Jia as deeply as Robert Bresson, whose use of nonprofessional actors Jia first encountered in “A Man Escaped” (1956). “Bresson took plot, photography, and performance, and one by one he negated them, leaving only the purity of the film,” Jia has said. “It was the first time that I ever felt the charm of time itself, and understood a kind of transcendent amusement with the spirit of film.”"],["p",{"class":"paywall"},"One night, Jia and some friends were walking home from another dreary studio picture when Jia said, “Let’s make a movie—the kind of movie we want to make.” As his friend Gu Zheng later recalled, in an essay that lends the night some cinematic drama, one of them smashed a beer bottle, and it sounded, to Gu, like “our manifesto.” They named themselves the Beijing Film Academy Youth Experimental Film Group."],["p",{"class":"paywall"},"Jia wrote a script called “Xiao Shan Going Home,” about a cook trying to get to Henan for Chinese New Year, and he cast his classmate Wang Hongwei in the lead. It was an improbable choice—a professor had recently pronounced Wang to be the worst actor in the class—but Jia liked Wang’s low-key approach, and he rounded out the cast with other nonprofessionals, including one guy who had to be persuaded over a bottle of Erguotou, China’s cheap grain alcohol. When they screened the film, classmates were unimpressed. They said it was crudely edited, and they disapproved of Jia’s use of regional dialects instead of standard Mandarin. (At the time, Chinese films and television were required to use standard Mandarin.) When Jia tried to screen it at Beijing Normal University, he was told that the film had “anti-social tendencies.” But a film journalist urged Jia to enter his film in the Hong Kong Independent Short Film & Video Awards. As a mainlander, Jia had had trouble meeting the eligibility requirements, and had to play up the role of a Hong Kong citizen who was part of the production in order to enter. The film took first place."],["inline-embed",{"props":{"name":"dropcap","attrs":{},"childTypes":[]},"ref":"","type":"callout:dropcap"},["p",{"class":"has-dropcap has-dropcap__lead-standard-heading paywall"},"In Hong Kong to pick up his award, Jia met the winner of the festival’s documentary-filmmaking prize: Yu Likwai, a taciturn young man from a farming family from the outskirts of Hong Kong, who became Jia’s cinematographer. Like Jia, Yu’s path to film had been one of escape. “The train for me was a very magical machine: it took me to the city to see movies, to buy records,” Yu told me. He had gone to film school in Belgium, where he immersed himself in silent films and in the austerity and emotional detachment of European cinema. As a gift, Yu gave Jia a book on Bresson. Most important, Yu thought, they shared an approach to the business of making movies. “We are not dreamers. We are more pragmatic than other independent directors or producers,” he said, adding, “We want our movies to have visibility.”"]],["p",{"class":"paywall"},"They headed to Shanxi to make a film, and when they reached Jia’s home town, Fenyang, Jia was overwhelmed by the changes that were unfolding. “Many of my old classmates were married with kids but now getting divorced, or they were clashing with their parents. Traditional values were crumbling. Money was at the center of everything,” he said. A classmate-turned-cop told Jia about a childhood friend, the man they called Donkey, who had ended up as a petty thief. Inspired, Jia wrote “Xiao Wu,” about a pickpocket—a subject his idol Bresson had also dealt with."],["p",{"class":"paywall"},"The crew slept ten to a room in a local hostel. The set had few lights and no video monitors to show what the cameraman was filming. If that wasn’t hard enough, Jia encouraged his nonprofessional actors to veer off the script if it felt stilted, and they were so often out of position or improvising that Yu and Jia began to use long takes partly to accommodate them. As a rebuke to the polished audio tracks of other Chinese films, Jia told the sound engineer to leave in as much authentic random sound as possible—car horns, loudspeakers, pop music. The engineer finally quit, claiming that the film would tarnish her reputation."],["p",{"class":"paywall"},"When “Xiao Wu” was screened in Beijing, professors at the film academy were uninterested. But other intellectuals regarded it as groundbreaking. In contrast to the epic historical Chinese dramas that were popular at the time, Jia had revealed a bitterly unadorned image of contemporary life and its discontents. To older Chinese admirers especially, the film’s honesty was bittersweet. “We had been forbidden from telling the truth for such a long time that once we were allowed to do so, we did not know how to tell the truth,” the painter Chen Danqing wrote of the film. It won awards at festivals in Berlin, Pusan, San Francisco, Vancouver, and elsewhere, but China’s censors—the State Administration of Radio, Film, and Television—were readying their response. On January 13, 1999, Chinese authorities banned Jia from making films. His name was placed on a blacklist that was circulated to equipment shops. No one would rent him a camera, and no processor would develop his film. He was twenty-nine."],["inline-embed",{"props":{"name":"inset-left","attrs":{},"childTypes":["cartoon"]},"ref":"","type":"callout:inset-left"},["inline-embed",{"props":{"image":{"id":"593b66295d2f45736c34cfb2","altText":"“Why cant you use Facebook like everybody else”","contentType":"cartoon","sources":{"sm":{"width":640,"url":"https:\u002F\u002Fmedia.newyorker.com\u002Fcartoons\u002F593b66295d2f45736c34cfb2\u002Fmaster\u002Fw_640,c_limit\u002F090511_a14134_p465.jpg","srcset":"https:\u002F\u002Fmedia.newyorker.com\u002Fcartoons\u002F593b66295d2f45736c34cfb2\u002Fmaster\u002Fw_120,c_limit\u002F090511_a14134_p465.jpg 120w, https:\u002F\u002Fmedia.newyorker.com\u002Fcartoons\u002F593b66295d2f45736c34cfb2\u002Fmaster\u002Fw_240,c_limit\u002F090511_a14134_p465.jpg 240w, https:\u002F\u002Fmedia.newyorker.com\u002Fcartoons\u002F593b66295d2f45736c34cfb2\u002Fmaster\u002Fw_320,c_limit\u002F090511_a14134_p465.jpg 320w, 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has-dropcap__lead-standard-heading paywall"},"As a student, Jia had met Zhu Jiong, a cinematography student who was two years younger, and in 1999 they married. When he offered to pay for a ring, she told him to make a film instead. Despite being banned, he continued to work, renting equipment on the sly and shooting as far from Beijing as possible, often telling onlookers that he was making a commercial. If he were discovered, authorities could fine him, confiscate his footage, or revoke his passport. But soon he was at work on an ambitious project—“Platform,” the chronicle of a local song-and-dance troupe and its first forays outside its home town. Jia took the title from the first pop song he had ever heard as a teen-ager, and the script drew heavily on his own experiences in Fenyang."]],["p",{"class":"paywall"},"While scouting for an actress who could speak the local dialect, Jia visited a dance class at the Taiyuan Teachers College, where he noticed a tough-minded instructor, Zhao Tao, who came from a steel-mill family. She saw him staring. “I was thinking, What’s up with this guy?” she told me. Jia introduced himself and Zhao agreed to try acting, though she had been sufficiently spooked by casting-couch stories that she arrived on set with a stun gun. She eventually became his muse, and acted in five more of his feature films."],["p",{"class":"paywall"},"“Platform,” which begins in 1979, as the Cultural Revolution is giving way to reform, opens on a village audience crowded around a stage for a performance of a Communist musical about Mao’s birthplace, “A Train Travelling Toward Shaoshan.” (It included melodies that Jia’s sister had performed on her violin growing up.) In the opening scene, the young members of the Peasant Culture Group from Fenyang pantomime a whistling, chugging train moving across the stage, but after the show their boss berates troupe member Cui Mingliang (portrayed by Jia’s former classmate Wang) for his feeble attempt at engine noises. Cui concedes, “I don’t know how trains sound.”"],["p",{"class":"paywall"},"The film follows Cui and others for a decade, as they traverse not only the Chinese countryside but also eons of cultural and political transformation. When Cui wears his first pair of bell-bottoms, his father, a laborer, demands to see if he can squat in them. “I’m an art worker! No manual labor,” Cui protests."],["p",{"class":"paywall"},"“Platform” conveys an unglamorous view of China’s lurch into the free market. At one point, an illiterate coal miner is asked to sign a contract that reads:"],["blockquote",{"class":"paywall"},["p","Life and death are questions of fate. I’m willing to work in Gao’s mine. Management accepts no blame for accidents. . . ."]],["p",{"class":"paywall"},"“Platform” ends in 1989, at the dawn of another new era; the cultural work team, now privatized and renamed the All-Star Rock n’ Breakdance Electronic Band, is doomed, soon to be replaced by televisions as entertainment in the villages."],["ad",{"position":"mid-content"}],["p",{"class":"paywall"},"When he finished shooting “Platform,” Jia confronted the problem of how to edit the film in secret. “We dared not process the film in China, because all the laboratories were owned by the government,” Chow Keung, the associate producer, who has served as executive producer of many Jia films, recalled. Chow saw no choice but to pack up the footage and smuggle it through customs at the walk-over border with Hong Kong. Chow was terrified. “Sometimes I had to hand-carry it,” he said."],["p",{"class":"paywall"},"“Platform” premièred at the Venice film festival, and went on to win more than half a dozen major prizes around the globe. Writing in ",["em","Film Comment"],", Kent Jones compared Jia’s mastery of his moment in time to Godard’s in the sixties and Altman’s in the seventies. Jia was a full-blown film-festival celebrity. He dedicated the film to his father, and returned to Shanxi to screen it for him. As they watched together, his father’s unease was palpable. “He said, ‘I envy you, because you can write about yourself,’ ” Jia told me. “But he also worried about me.”"],["p",{"class":"paywall"},"Despite his success abroad, Jia was increasingly dispirited. He was working at a furious pace: he followed “Platform” with “In Public,” his first documentary, a sublime short—shot in a train station, a dance hall, and other locales—and “Unknown Pleasures,” a feature about restless, disillusioned youths in a rust-belt town. But in China his films could be found only on pirated disks or at small screenings in bars. He felt powerless. “My motivation for making films was not simply a love of movies but also a sense of idealism, a hope that I could help to change society.” He had come to see Chinese directors as “carnies,” as he put it—knife-jugglers with little to show for their risks—and he considered abandoning cinema. On a trip to New York, he visited Martin Scorsese at his office and said he might quit making movies. “I said, ‘You can’t do that!’ ” Scorsese recalled. “ ‘You’re going to have to go on. You’re going to have to really push through.’ ”"],["p",{"class":"paywall"},"For a year, Jia shot nothing. He returned to Shanxi and spent weeks with old friends. They still called him Lailai, and harangued him for not having children yet. It was restorative, and, over time, Jia’s conception of his place at the intersection of culture and politics began evolving as well. “I realized that the power of a single individual is truly limited, but culture itself is powerful,” he said. “You discover that there are people in journalism, literature, painting, all trying to do the same thing.”"],["inline-embed",{"props":{"name":"dropcap","attrs":{},"childTypes":[]},"ref":"","type":"callout:dropcap"},["p",{"class":"has-dropcap has-dropcap__lead-standard-heading paywall"},"By 2003, film authorities were eager for reconciliation. Though officially barred, Jia and other young directors were still working and racking up film-festival acclaim. Moreover, the government’s conception of film had changed. “They used to treat film as a propaganda tool. Now they saw it as an industry,” Jia said. “To make money, they had to deregulate.” The film bureau called a meeting with banned directors and offered a deal: the ban would be lifted if they would agree not to show movies they had made illegally and, in the future, would submit to a streamlined script-approval and censorship process. (To this day, the filmmakers submit a fifteen-hundred-word synopsis rather than a full script, but the final edit of a film requires approval before it can be distributed.) The new regulations offered far less than full autonomy, but Jia felt vindicated. “If I had quit the film industry on January 13, 1999, and every other director had as well, the system would never have changed.”"]],["inline-embed",{"props":{"name":"inset-left","attrs":{},"childTypes":["cartoon"]},"ref":"","type":"callout:inset-left"},["inline-embed",{"props":{"image":{"id":"593b662c1f743c6ee49a552e","altText":"“Ill be a real boy as soon as Im done with the hormone treatments.”","contentType":"cartoon","sources":{"sm":{"width":640,"url":"https:\u002F\u002Fmedia.newyorker.com\u002Fcartoons\u002F593b662c1f743c6ee49a552e\u002Fmaster\u002Fw_640,c_limit\u002F090511_a14117_p465.jpg","srcset":"https:\u002F\u002Fmedia.newyorker.com\u002Fcartoons\u002F593b662c1f743c6ee49a552e\u002Fmaster\u002Fw_120,c_limit\u002F090511_a14117_p465.jpg 120w, https:\u002F\u002Fmedia.newyorker.com\u002Fcartoons\u002F593b662c1f743c6ee49a552e\u002Fmaster\u002Fw_240,c_limit\u002F090511_a14117_p465.jpg 240w, 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treatments.”","dangerousCredit":"","links":[{"network":"facebook","behavior":"popup","url":"https:\u002F\u002Fwww.facebook.com\u002Fdialog\u002Ffeed?&display=popup&caption=&app_id=1147169538698836&link=https%3A%2F%2Fwww.newyorker.com%2Fcartoon%2Fa14117%3Futm_source%3Dfacebook%26utm_medium%3Dsocial%26utm_campaign%3Donsite-share%26utm_brand%3Dthe-new-yorker%26utm_social-type%3Dearned","label":"Share on Facebook"},{"network":"twitter","url":"https:\u002F\u002Ftwitter.com\u002Fintent\u002Ftweet\u002F?url=https%3A%2F%2Fwww.newyorker.com%2Fcartoon%2Fa14117%3Futm_source%3Dtwitter%26utm_medium%3Dsocial%26utm_campaign%3Donsite-share%26utm_brand%3Dthe-new-yorker%26utm_social-type%3Dearned&text=&via=NewYorker","label":"Share on X"},{"network":"email","url":"mailto:?subject=&body=https%3A%2F%2Fwww.newyorker.com%2Fcartoon%2Fa14117%3Futm_source%3Donsite-share%26utm_medium%3Demail%26utm_campaign%3Donsite-share%26utm_brand%3Dthe-new-yorker","label":"Share via Email"},{"network":"store","url":"https:\u002F\u002Fcondenaststore.com\u002Fconde-nast-brand\u002Fcartoons","label":"Get in store"},{"network":"canonical","url":"https:\u002F\u002Fwww.newyorker.com\u002Fcartoon\u002Fa14117","label":"a14117"}]}},"level":"block","ref":"593b662c1f743c6ee49a552e","type":"cartoon"}]],["p",{"class":"paywall"},"For his first legal film, “The World,” Jia departed from Shanxi to tell the story of workers in a real-life Beijing theme park, where tourists could climb a miniature Eiffel Tower or be photographed in front of an ersatz World Trade Center. In an aesthetic break, he laced the film with a series of lushly colored animated sequences intended to convey the sheer strangeness of the place. It was Jia’s biggest production yet, with a budget of more than a million dollars, but though it was a critical success in the United States and elsewhere, Jia was disappointed by the muted impact at home. He flew west to the Three Gorges Dam, the mammoth hydroelectric project spanning the Yangtze, to make a documentary about the contemporary artist Liu Xiaodong, who was painting scenes of local workers. But, as Jia shot the documentary, which was later entitled “Dong,” the sight of two-thousand-year-old towns being demolished inspired a feature as well—“Still Life”—which Jia wrote over three days, holed up in his hotel. He cast his cousin, Han Sanming, as a coal miner in search of an estranged wife. To appear in the film, Han took a break from his real job, as a coal miner in Fenyang; after shooting, he returned to the mine."],["p",{"class":"paywall"},"Jia began to grow frustrated with the limitations imposed by realism. He had come to believe that China’s transformations were so fast and mind-bending that putting them on film virtually demanded surrealism. In “Still Life,” a building launches into the air like a rocket, and a flying saucer zips across the sky. (As Jia has explained to a film magazine, China’s “official speeches and pictures are like U.F.O.s that never touch the ground.”) At their best, the effects make the distinction between real and unreal irrelevant: the final shot of “Still Life”—a lone figure silhouetted against the sky, balancing on a tightrope between buildings, an image that often strikes me as a fitting metaphor for Jia himself—looks scarcely stranger than anything before it."],["p",{"class":"paywall"},"The production was draining. When Zhao Tao, who was playing the role of a nurse searching for her gallivanting husband, was not giving the subdued performance that Jia wanted, he secretly told the crew to ignore her or do whatever they could to make her miserable. She nearly quit the production before Jia let her in on the ruse. (“That was evil,” he said later, then added, “It worked.”) The budget had called for two or three trips to the gorges, but Jia was unhappy with his attempts to capture the scale of the transformation, and he insisted on making six trips. Costs mounted. A French investor pulled out. “We were nearly bankrupt,” Chow, the producer, said. They raised more money, but while racing to finish the film in time for the Venice festival, Jia received a call from his sister: their father had been given a diagnosis of late-stage lung cancer. Jia stayed at the hospital for weeks. When his father died, in March of 2006, Jia’s dominant emotion was guilt, for having invested so much more energy in his films than in his family. “When he died, it was like I suddenly grew up,” Jia said."],["p",{"class":"paywall"},"His absorption in his work was also dooming his marriage. Jia and Zhu Jiong were seldom in the same city. They parted amicably. Jia still blames himself: “I was not responsible enough to her. She was too lonely.”"],["p",{"class":"paywall"},"That September, “Still Life” took the top prize in Venice, making Jia only the second mainland-Chinese director to win it, after Zhang Yimou, the director of “Ju Dou” (1990) and “Raise the Red Lantern” (1991). But as Jia prepared to release “Still Life” in China, his frustration with the film establishment—and with Zhang Yimou in particular—boiled over. Jia accused China’s older filmmakers of churning out big-budget action pictures that neglected the country’s mounting social problems. “When faced with the complexity of real society, their hands and feet quiver, and they deliriously shoot a bunch of childish fairy tales,” Jia wrote in an essay. He blamed a blockbuster mentality for preventing films like his from reaching a wider audience. To emphasize the point, he premièred “Still Life” on the same day that Zhang unveiled “Curse of the Golden Flower,” a forty-five-million-dollar palace drama that was said to be China’s priciest production to date. “In this era of worshipping gold, who is still interested in good people?” Jia said to reporters. In response, Zhang’s producer was quoted as saying that Jia was “sick with revenge against the rich.”"],["p",{"class":"paywall"},"“Still Life” did poorly in Chinese theatres, just as Jia expected. Two years later, he remains embittered, and is especially critical of Zhang Yimou’s coziness with the Chinese government. (In 2002, Zhang premièred his martial-arts film “Hero” at the Great Hall of the People, the home of the Party-run legislature, and he designed the opening ceremony of the 2008 Beijing Olympics.) “Since ‘Hero,’ I have not liked his films,” Jia told me one night as we sat in the lobby of a multiplex, between screenings. “Not because they are kung-fu movies—I like kung-fu movies—but because the film underscores power, that we should ‘bow down’ before power! For ‘harmony in the world,’ we should give up individual fights and efforts. The ‘authority of power,’ the focus of his films, is what makes me extremely uncomfortable.”"],["inline-embed",{"props":{"name":"dropcap","attrs":{},"childTypes":[]},"ref":"","type":"callout:dropcap"},["p",{"class":"has-dropcap has-dropcap__lead-standard-heading paywall"},"Jia’s argument has many supporters, both foreign and domestic, and, indeed, the reputations of his predecessors have eroded sharply in recent years. But, at the same time, Jia has encountered criticism of his own from the avant-garde edge of Chinese intellectuals, who accuse him of abandoning his most subversive themes. On a Saturday afternoon in February, a few days before the Chinese première of his most recent film, “24 City,” a screening was held for writers, filmmakers, and other invitees. “24 City” is composed mainly of interviews, some real and some performed by actors, to tell the true story of Factory No. 420, an engine plant in the city of Chengdu that had employed thirty thousand workers and was shut down to make way for a high-rise luxury building complex. After the screening, Jia joined a panel discussion at a loft-style gallery, a few floors up from the Beijing branch of Hooters. The audience of a hundred or so was Chinese, hip, and earnest (I counted two berets)—exactly the kind of fans who gravitated to him when he was underground."]],["p",{"class":"paywall"},"After the host gave a routine round of praise, the first question from the audience asked Jia, pointedly, “Was the decision to use movie stars made with the market in mind?” Another questioner asked if Jia had avoided harder-hitting stories of truly abject poverty because he wouldn’t get them approved. In an armchair onstage, Jia pursed his lips and looked wounded. “If this group is marginalized,” he said, “then their faces, their language, their food, their living conditions, their homes, their expressions—all of that—is erased from the screen, to zero. Anything I can do to hold on to them and make people see them onscreen is the most important thing I can do! Otherwise, they’re silenced!”"],["p",{"class":"paywall"},"When I asked Zhang Xianmin, a well-known independent filmmaker who teaches at Beijing Film Academy, to sum up his disaffection with Jia’s career path, he said, “There is a phase when Jia’s subject was the absolute pursuit of freedom. But I think, quite clearly, that period finished with ‘Unknown Pleasures’ ”—the last film that Jia made without government approval."],["inline-embed",{"props":{"name":"inset-left","attrs":{},"childTypes":["cartoon"]},"ref":"","type":"callout:inset-left"},["inline-embed",{"props":{"image":{"id":"593b662d1f743c6ee49a5530","altText":"“This week on ‘The Amazing Race to Enlightenment can Jim and Suzy achieve right mindfulness And will Barb and Candy be...","contentType":"cartoon","sources":{"sm":{"width":640,"url":"https:\u002F\u002Fmedia.newyorker.com\u002Fcartoons\u002F593b662d1f743c6ee49a5530\u002Fmaster\u002Fw_640,c_limit\u002F090511_a14113_p465.jpg","srcset":"https:\u002F\u002Fmedia.newyorker.com\u002Fcartoons\u002F593b662d1f743c6ee49a5530\u002Fmaster\u002Fw_120,c_limit\u002F090511_a14113_p465.jpg 120w, https:\u002F\u002Fmedia.newyorker.com\u002Fcartoons\u002F593b662d1f743c6ee49a5530\u002Fmaster\u002Fw_240,c_limit\u002F090511_a14113_p465.jpg 240w, 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And will Barb and Candy be eliminated for relentless clinging to the self?”","dangerousCredit":"","links":[{"network":"facebook","behavior":"popup","url":"https:\u002F\u002Fwww.facebook.com\u002Fdialog\u002Ffeed?&display=popup&caption=&app_id=1147169538698836&link=https%3A%2F%2Fwww.newyorker.com%2Fcartoon%2Fa14113%3Futm_source%3Dfacebook%26utm_medium%3Dsocial%26utm_campaign%3Donsite-share%26utm_brand%3Dthe-new-yorker%26utm_social-type%3Dearned","label":"Share on Facebook"},{"network":"twitter","url":"https:\u002F\u002Ftwitter.com\u002Fintent\u002Ftweet\u002F?url=https%3A%2F%2Fwww.newyorker.com%2Fcartoon%2Fa14113%3Futm_source%3Dtwitter%26utm_medium%3Dsocial%26utm_campaign%3Donsite-share%26utm_brand%3Dthe-new-yorker%26utm_social-type%3Dearned&text=&via=NewYorker","label":"Share on X"},{"network":"email","url":"mailto:?subject=&body=https%3A%2F%2Fwww.newyorker.com%2Fcartoon%2Fa14113%3Futm_source%3Donsite-share%26utm_medium%3Demail%26utm_campaign%3Donsite-share%26utm_brand%3Dthe-new-yorker","label":"Share via Email"},{"network":"store","url":"https:\u002F\u002Fcondenaststore.com\u002Fconde-nast-brand\u002Fcartoons","label":"Get in store"},{"network":"canonical","url":"https:\u002F\u002Fwww.newyorker.com\u002Fcartoon\u002Fa14113","label":"a14113"}]}},"level":"block","ref":"593b662d1f743c6ee49a5530","type":"cartoon"}]],["p",{"class":"paywall"},"As Zhang sees it, Jia’s decision to seek theatrical release and submit to censorship has ceded the vanguard of China’s most politically challenging cinema to a new crop of filmmakers, who work with low-cost digital equipment and never bother to seek government approval. Those films are shown overseas and at a series of low-profile but thriving festivals in China. Typical of this new batch are documentaries such as Zhao Liang’s “Crime and Punishment,” about interrogation tactics at a remote police station, and Zhao Dayong’s “Ghost Town,” which records the poverty and cultural desolation of a mountain village far from China’s boomtowns."],["ad",{"position":"mid-content"}],["p",{"class":"paywall"},"Most of those films have such tiny audiences that authorities rarely bother to interfere, except when the subject is acutely sensitive. When YunFest, a festival in Yunnan Province, scheduled a screening last year of “Though I Am Gone,” a low-budget historical documentary about a schoolteacher in Beijing who was beaten to death by Red Guards during the Cultural Revolution, authorities, at the last minute, pressured organizers to postpone the festival. (It later convened and showed the film in another city in Yunnan.) In the past, the maker of that film, Hu Jie, has described being visited by state security agents who asked about his work, yet, in a sign of how China’s control of filmmaking has slackened from a decade ago, Hu has continued to make films."],["p",{"class":"paywall"},"Likewise, China’s bans on filmmakers are not what they once were. The prominent director Lou Ye was banned from filmmaking for five years after “Summer Palace” (2006), a sexually explicit drama set amid the Tiananmen Square demonstrations, was submitted at Cannes before receiving government approval. And yet, midway through the ban, Lou is hard at work; his latest film, “Spring Fever,” is slated to appear in May at Cannes."],["p",{"class":"paywall"},"Chinese authorities seem to have concluded that art films, screened at festivals for urbane, like-minded audiences, have limited social impact. And, in a sense, Jia has reached the same conclusion. He believes his social critique is strongest not as a protester on the sidelines but as a legal—and marketable—filmmaker. “If we keep filming ordinary workers, that will heighten sympathy and concern for them, and they, in turn, will get closer to freedom,” Jia told me. “In the early eighties, many directors made films about women’s rights—about their confinement, their unhappy marriages—and, through those films, Chinese people realized that women must be respected and treated equally.” Yu, the cinematographer, summed up Jia’s strategy for addressing sensitive issues as “the intelligence to be politically critical but in a more discreet sense.”"],["p",{"class":"paywall"},"Jia is an auteur with aspirations of populism. (“It’s part of a director’s job to communicate his works to others,” he told me.) But it’s not yet clear if he can win China’s audience away from martial-arts extravaganzas and mindless comedies without losing the artistic and political energy that got him where he is. By March, with “24 City” still in theatres, he was immersed in his next projects: a historical documentary about Shanghai and a feature, a kung-fu movie set at the turn of the twentieth century—or, as he called it, “an anti-kung-fu movie.” (“In most movies, kung fu is all-powerful, but in my film it’s getting weaker and weaker,” he said.) After more than a decade of chronicling contemporary China, he is increasingly focussed on correcting distortions of Chinese history, even if that is guaranteed to draw official scrutiny. “Topics like the Cultural Revolution, June Fourth, and the anti-rightist campaign are not permitted to be made into films,” he told me. “But those incidents affect China today. People are forgetting them. Today’s young people don’t even know what happened. On one hand, I want to record what’s happening in China now, but I feel an urgent need to know more about history.”"],["p",{"class":"paywall"},"Jia’s plans seemed destined to attract criticism: from the government, for exploring China’s most sensitive historical chapters, and from art-film fans, for making a kung-fu movie. He hardly seems to mind. He has come to inhabit a limbo of his own making, and that status has put him at odds with both worlds. “My expression, my view on history, my view on the truth must be independent,” he says, “but I tell myself not to get marginalized, because being marginalized means you can’t do anything. Marginalization can be a kind of pleasant stance—I really admire many of those people—but I would rather expend enormous energy trying to dance with the many levels of the era in which we live.” ♦"]],"pageStructure":[["inline-embed",260,"callout"],["p",50],["p",195],["p",200],["p",88],["p",59],["cm-unit",0],["p",165],["p",162],["inline-embed",0,"callout"],["p",48],["p",213],["inline-embed",0,"cneinterlude"],["p",68],["ad",0],["p",43],["p",57],["p",68],["p",59],["inline-embed",296,"callout"],["p",203],["p",98],["p",113],["inline-embed",0,"callout"],["p",210],["inline-embed",244,"callout"],["p",149],["p",71],["p",197],["inline-embed",290,"callout"],["p",95],["p",112],["p",163],["inline-embed",0,"callout"],["inline-embed",266,"callout"],["p",91],["p",106],["p",55],["p",27],["blockquote",46],["p",39],["ad",0],["p",83],["p",100],["p",167],["p",87],["inline-embed",330,"callout"],["inline-embed",0,"callout"],["p",212],["p",123],["p",198],["p",38],["p",186],["p",134],["inline-embed",360,"callout"],["p",116],["p",59],["inline-embed",0,"callout"],["p",101],["ad",0],["p",127],["p",69],["p",129],["p",204],["p",120]],"hasAffiliateLinks":false,"affiliateLinksCount":0,"isCommerceContent":false,"contributorSpotLightProps":{"header":{"name":"Evan Osnos","title":"Evan Osnos is a staff writer at *The New Yorker* covering politics and foreign affairs. 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His coverage ranges from politics and foreign affairs to white-collar crime and espionage. 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His coverage ranges from politics and foreign affairs to white-collar crime and espionage. He has written Profiles of Joe Biden and Xi Jinping, visited North Korea during the nuclear crisis of 2017, and reported from the siege at ... \u003Ca href=\"\u002Fcontributors\u002Fevan-osnos\"\u003ERead more\u003C\u002Fa\u003E","dangerousTitle":"\u003Ca href=\"\u002Fcontributors\u002Fevan-osnos\"\u003EEvan Osnos\u003C\u002Fa\u003E is a staff writer at \u003Cem\u003EThe New Yorker\u003C\u002Fem\u003E covering politics and foreign affairs. 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