I suspect that for many fans of ‘World Cinema’ one of the main attractions is the opportunity to vicariously experience different landscapes and urban environments. Shun Li and the Poet represents the town of Choggia in the Veneto region of North East Italy so strikingly that audiences are likely to feel that they have actually been there. I know that I’m tempted to book a trip right now.
Writer-director Andrea Segre is primarily a documentarist and also a researcher in the ‘Sociology of Communication’. He brought all his experience into play in creating this study of the meeting of two migrants from different communities in the very specific waterside setting of the Veneto region. The Press Notes for the film are a very useful source of material detailing the background to the production which was developed via various production labs.
Shun Li is a Chinese migrant worker from the coastal city of Fouzhou in South East China. We see her first working in a sweatshop in Rome. She is summoned by the bosses and told that she is being sent to Choggia where she is installed as the single worker running a small café-bar (osteria) on the waterfront, mainly used by fishermen. Gradually she gets used to the regular customers, mostly older men who have retired from full-time work. They are generally welcoming, teaching her the local dialect. One of the men, Bepi, is a widower who came to the area thirty years previously from the former Yugoslavia after Tito’s death. He is known among the men as ‘the Poet’ because he can produce attractive rhyming couplets and this helps him find common ground with Shun Li who celebrates the work of the classical Chinese poet Qu Yuan. Shun Li also tells Bepi that the men of her family have been fishermen for generations. Apart from the developing relationship between the two poetry lovers, not much happens in the plot but eventually the friendship creates unease among both the local residents and the Chinese bosses who control Shun Li’s fate. There is some mystery attached to exactly how the situation is resolved – a mystery enhanced by a mise en scène dominated by the dark alleyways, mists and watery sun, the overflowing canals and the fishing huts and stationary nets in the lagoon. Anyone terrified by the Venice of Nic Roeg’s Don’t Look Now (1973) will be familiar with how affecting a glance under a bridge or down an alley can be in this part of the world. None of these images are created in an obviously expressionistic way but the views of the Dolomites, snow-capped mountains that seem to loom over the coastline on the other side of the lagoon, are extraordinary (they are actually over 100 kms away). The mountains are only visible at certain times (see this Flickr photo).
The success of the film partly derives from the terrific performances of the leads. Zhao Tao as Shun Li brings her wonderfully still presence from the films of Jia Zhangke – films that in some ways share the sense of place, working-class cultures and social change. Rade Sherbedgia is well-cast as a Yugoslavian who has now become a valued presence in international features. The rest of the cast comprises a mixture of professionals and non-professionals from the region. Segre’s experience and research shows in the beautiful long shots and the handling of scenes on the water and in the bar. This is one of my films of the year and I was very pleased to be able to see it on the big screen of the Pictureville Cinema in Bradford. It has taken some time to reach the UK and I was only aware of the film because it had been discussed at the Chinese Film Forum in Manchester earlier this year. Curzon/Artificial Eye have the UK rights and they seem happy to play it online – I haven’t seen it getting much theatrical exposure but if you go to the Artificial Eye website you can find any play dates or how to watch it online.
Here’s the UK trailer. It’s a very good trailer and I’d be surprised if you didn’t want to see the film: