The Walking Dead
Log in with Facebook
Forgot your password?
Don't have an account? Sign up here
and the Terms and Policies,
and to receive email from Rotten Tomatoes and Fandango.
Already have an account? Log in here
Please enter your email address and we will email you a new password.
We want to hear what you have to say but need to verify your account. Just leave us a message here and we will work on getting you verified.
Please reference “Error Code 2121” when contacting customer service.
Beautifully filmed, powerfully acted, and rich with meaning, Mountains May Depart represents another outstanding outing from writer/director Zhangke Jia.
All Critics (76)
| Top Critics (18)
| Fresh (69)
| Rotten (7)
Jia remains a major filmmaker, and this film is never less than bold and ambitious.
Another breakthrough by a director who has never stopped pushing either himself or his idea of what a Chinese movie can do and be.
So confident is this director's touch that "Mountains May Depart" holds you with the humanity of its telling rather than the gloom of its conclusions.
Like most of the indispensable Jia's work, this triptych film, which jumps from 1999 to 2014 and then to 2025, is intimately engaged in the push-pull between tradition and progress.
Jia's languid style and exquisite framing complement his understated approach to the material, which opts for depth over melodrama. But "Mountains May Depart" is grounded in Zhao's delicate performance, which is her best.
There's a lot of heart here.
The movie would actually be much improved with some very heavy, very skilled editing.
The film is at its best when depicting the sheer estrangement between generations within the modern Chinese family.
Despite the film's focus on yearning and separation, it expresses a belief that all aspects of Chinese life can be aligned yet again, like a perfect dance routine choreographed to the right song.
A tragically effective portrait of what's happening to a country and a huge achievement.
"Mountains May Depart" is definitely one of [director Jia Zhang-ke's] minor films, although even they are more successful than most directors' best work.
Jia and Yu have, unsurprisingly, made a movie of taciturn eloquence, always sure-footed in negotiating its discursive narrative construction, even as it sometimes wobbles at the level of performance.
A disjointed, cheesy and poorly-acted film that constantly shifts focus between characters (even abandoning them for no reason), with arbitrary leaps in time that make everything seem too superficial and unimportant to work as a look at the lives of common people.
There are no approved quotes yet for this movie.