During an Q&A for Dasheng Zheng’s funny and deeply concerned film about a rural community during the early 1980’s, an audience member asks if the film did well in China. The director sorrily negates the question. There is a palpable sense of urgency when he talks about his project, which has went under the festival radar of many critics and thus lost any chance to be put into a bigger circles of discussion. Later I speak to him outside, he draws on a cigarette and blows the smoke into the starry sky above. I ask him, who he’d like to see the film.
“For a young generation in China…they don’t know what happened before. They don’t know enough. And they are too detached from these topics, there are too many distractions. If we don’t know enough, we don’t have the opportunity to think. First we need to know, then we might have an opportunity to think it over. For the future.”
In the tradition of many filmmakers, Zheng is raging against the cold threat of history falling into oblivion.
“I’m from the city […] I didn’t really know what happened to ordinary Chinese people then. This is why I wanted to make this movie. I tried my best to understand.”
Drawn from the material of three short stories by Jia Dashan, Bangzi Melody tells the story of a pending challenge to the peanut farmers of a small village in the North-East of China. They coincidentally find out that a land reform will take place and that they are to receive political guests very soon. Until then, their task is to rehearse and perform a classic, pre-revolutionary opera for the cadres, supposedly a sign for reinvigoration after decades of systematic oppression during the cultural revolution.