His conclusions in A Thousand Years of Good Prayers seem temporary and open-ended, and that's in part what makes this film a provocative and meditative experience. His observation that Wang brushed closer to truth through ambiguity especially holds up. ![]() Wang's latest film, A Thousand Years of Good Prayers, finds its niche in a new theme - parents and children - but a lot of what Hsu noticed of Wang twenty-six years ago still applies, albeit to a calmer and more modest degree. certainly feels more truthful in its ambiguity." ![]() Identity is something communities imagine together. On Wayne Wang's "early brilliance," Slate writer Hua Hsu wrote of Wang's Chan is Missing: "It celebrated and reveled in the profound shapelessness of identity. Most powerful when resisting oversimplification of a father-daughter relationship, A Thousand Years of Good Prayers falters with its caricatures of American suburbia.
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