Tuya's Marriage Reviews

November 24, 2011
November 18, 2011
November 17, 2011
December 9, 2008
This 2006 drama is refreshing not only for its gentle comic touches but for director Wang Quanan's refusal to sentimentalize China's vanishing nomadic culture: life is harsh and no one's a saint, including his outspoken heroine.
October 18, 2008
October 18, 2008
Made with a scrupulous attention to the slow-moving realities of grasslands life but lacking in dramatic heft.
August 29, 2008
[Yu Nan] owns the role of Tuya, delivering a wide-ranging performance that might be called 'star-making' if she didn't already suggest the confidence of an established star.
August 22, 2008
Director Wang Quan'an shows us a China of contrasts and in transition, where a life of traditional farming is harder than ever to sustain while life in the nearest city includes nice hotels, decent health care and good schools.
August 22, 2008
For those who are still reeling from the forced exuberance of Mamma Mia! but have room for one more film about a woman with multiple suitors, may I recommend Tuya's Marriage?
June 20, 2008
A strong addition to the burgeoning canon of China's so-called Sixth Generation filmmakers.
May 23, 2008
Tuya's Marriage is thoroughly gratifying in its consistent inventiveness and has a grasp of human nature so universal that there's no feeling of the exotic about the film and its people.
April 24, 2008
It is a fine and plaintive experience, more modern-day folklore than ethnographic study, and a wonderfully assured piece of cinema.
April 4, 2008
Tuya's Marriage has enough material to supply an entire year of a soap opera -- in Inner Mongolia, that is.
April 4, 2008
A compact near-masterpiece that combines a slow-motion romantic comedy with a docudrama-style portrait of a remote, nomadic culture as it is gradually eroded by the tides of the 21st century.
April 4, 2008
Tuya's Marriage finds an austere beauty in a landscape of scrub and grassland ringed by forbidding slate-blue mountains.
April 2, 2008
[Director Wang Quan] still maintains an emotional remove from his subject, tracing the encroaching will of capitalism-as in the evolution from horses to motorcycles to cars-more clinically than poetically.