Editor
On a 1980s evening, the topmost clown-actor of the 20th century Sichuan opera, Qiu Fu passes away in an accident and half-unwillingly sets off for the Ghost City under the escort of two underworld officials. Along the way, he meets old friends. As they recall the past, a history of the living is conjured up.
Producer
Tao and Dong promised each other they’d return to the village where the latter grew up, in Inner Mongolia, before following his family, who left to find better fortune in a large city in Southern China. This voyage is a mere pretext meant to reconnect the two childhood friends, who were separated for ten years. With a rare sensitivity, Tao Gu films this companion, who was lost not only “from view”, approaching him stealthily to capture all of his tragic intensity, his disillusioned generosity. Dong has remained a dreamer besotted with rock, an incensed body struggling to find money (he comes up with a jade business which does not work out), love, sex and, above all, to live following his own conceptions of liberty, under the ambiguous gaze of his parents and his “successful” brother.
Editor
Tao and Dong promised each other they’d return to the village where the latter grew up, in Inner Mongolia, before following his family, who left to find better fortune in a large city in Southern China. This voyage is a mere pretext meant to reconnect the two childhood friends, who were separated for ten years. With a rare sensitivity, Tao Gu films this companion, who was lost not only “from view”, approaching him stealthily to capture all of his tragic intensity, his disillusioned generosity. Dong has remained a dreamer besotted with rock, an incensed body struggling to find money (he comes up with a jade business which does not work out), love, sex and, above all, to live following his own conceptions of liberty, under the ambiguous gaze of his parents and his “successful” brother.
Director
Tao and Dong promised each other they’d return to the village where the latter grew up, in Inner Mongolia, before following his family, who left to find better fortune in a large city in Southern China. This voyage is a mere pretext meant to reconnect the two childhood friends, who were separated for ten years. With a rare sensitivity, Tao Gu films this companion, who was lost not only “from view”, approaching him stealthily to capture all of his tragic intensity, his disillusioned generosity. Dong has remained a dreamer besotted with rock, an incensed body struggling to find money (he comes up with a jade business which does not work out), love, sex and, above all, to live following his own conceptions of liberty, under the ambiguous gaze of his parents and his “successful” brother.
Executive Producer
The traditional Chinese family faces relocation.
Editor
The traditional Chinese family faces relocation.
Director
On May 12, 2008 , the biggest earthquake in Chinese history occurred in the film maker's hometown of Wenchuan. According to official polls, 69,159 were killed, 374,141 were seriously injured and 17,469 are still considered to be missing. The film maker's parents, central character in the film, are survivors. In a surreal hybrid of documentary footage, experimental abstraction and fictional elements, "On the Way to the Sea" studies the human fragility and spiritual homelessness generated by such disasters.
