It is quiet opposite of what it seems like from the surface of the movie. The daughter was actually killed by the delivery truck. And the movie was supposed to end without the 2 years later. To viewers who are familiar with the 10 years of culture revolution, this movie is filled with underline messages of that period. By editing out the cause of death and adding reunion totally changed the tone of this movie. But regardless, director Zhang delivered his best film in the past two decades, given the circumstances.
18 Reviews
Cinema Omnivore - One Second (2020) 7.7/10
lasttimeisaw29 November 2020
"He finds an unlikely competitor in a young girl Liu Guinv (Liu Haocun), who wants some film to decorate a lampshade for reparation. After a series of mischiefs fighting for a reel of film, which finally reaches the regulated farm where the movie is due to be screened by the veteran film projector Fan Dianying (Fan Wei), Jiusheng's concealed identity is at risk of being discovered and his foe-to-friend bond with Guinv, who is more or less his daughter's age, takes a familiar but no less affecting father-daughter trajectory. And ONE SECOND hits the bull's eye with its ending, a tactical misunderstanding brings Jiusheng back to Guinv, and his ensuing disappointment soon changes into a philosophical sigh, he is accorded a second chance to be a father figure, whereas, the film footage, buried and gone, acts like a germane symbol of a bygone era."
read my full review on my blog: cinema omnivore, thanks
read my full review on my blog: cinema omnivore, thanks
For the love of cinema!
M0n0_bogdan9 February 2023
In the last couple of month, or maybe the last year I have seen maybe 10 movies about famous directors love for the cinema...of course one of China's best will do the same. Love for the cinema with a bit of family dynamic sprinkled in.
It is not as visually spectacular as other films from Zhang Yimou but it's still beautifully shot and the cinema scenes really have impact. To involve the entire village to clean up an entire reel that was dragged on the road, it was just not only very powerful chinese propaganda but also a very direct way for Yimou to show us how much he respects the film..and to present it all on the "silver" screen via back-light. Such a great couple of scenes.
Yeah, a lot of it also reminded me of communist Romania and they way they all gathered at the films to mindlessly watch anything, even newsreels, all too familiar. Not for me, but from the stories I heard.
It is not as visually spectacular as other films from Zhang Yimou but it's still beautifully shot and the cinema scenes really have impact. To involve the entire village to clean up an entire reel that was dragged on the road, it was just not only very powerful chinese propaganda but also a very direct way for Yimou to show us how much he respects the film..and to present it all on the "silver" screen via back-light. Such a great couple of scenes.
Yeah, a lot of it also reminded me of communist Romania and they way they all gathered at the films to mindlessly watch anything, even newsreels, all too familiar. Not for me, but from the stories I heard.
Daughters on the frame
imursel5 October 2022
Zhang Yimou, in general, is the director of the epical drammas. But all the while he manages to tell little stories with a certain cynicism and black humor. One second is one of these films that tells us a very cheerful story with touching tones of hearthwarming. The film is a kind of Chinese "Cinema Paradiso", which is full of love for cinema and for this seventh art. But Yimou not only speaks of love for cinema but also of a friendship and solidarity between a prisoner who has escaped from a concentration camp and a child that their friendship is in fact based on the roots about the interests of cinema. Despite all this good intention that the director wants to put forward, unfortunately the film is unable to end this brilliant idea with a decent final blow and leaves the spectator with a dry mouth disappointing and perplexed without giving the coup de grace that otherwise would have been a sensational ending. .
Warm small town (Chinese style) story set during the Cultural Revolution
Smittyray29 November 2020
After a long line of patriotic films, which won't resonate beyond China's borders, One Second was a very welcome film.
The film is about an escaped convict who wants to see his daughter in a newsreel, the reel of which becomes the focal point of the movie. Throughout the movie, the main protagonist chases an orphan girl who steals the newsreel featuring his daughter. At times absurb (reflecting the times and accompanying behavior), at others humourous, the movie is overall a warm, touching tale of how two complete strangers come together, filling a void in the other.
Zhang Yimou once again captures the beauty of the surrounding area, even if often nothing more than desert and a drab village. There wasn't a character out of place nor an actor who failed to deliver.
Highly recommend.
The film is about an escaped convict who wants to see his daughter in a newsreel, the reel of which becomes the focal point of the movie. Throughout the movie, the main protagonist chases an orphan girl who steals the newsreel featuring his daughter. At times absurb (reflecting the times and accompanying behavior), at others humourous, the movie is overall a warm, touching tale of how two complete strangers come together, filling a void in the other.
Zhang Yimou once again captures the beauty of the surrounding area, even if often nothing more than desert and a drab village. There wasn't a character out of place nor an actor who failed to deliver.
Highly recommend.
Love it!
marsakobarsako2 December 2021
A self-reflecting matryoshka
samuelsahmadi19 September 2021
I was lucky enough to see Zhang Yimou's "One Second" at the Toronto International Film Festival. Now, I'm not well versed in Chinese cinema, so I really didn't know what to expect in terms of the common genres, the narrative style, the pacing, etc.
All I can say is, I was very pleasantly surprised. The film is basically a road trip movie about two protagonists who really don't want anything to do with each other, but go through a journey that ultimately, yet ever so gradually, transforms their relationship. The plot was well-written with plausible events and very witty use of dramatic irony. In fact, this charmingly facetious tone is established early on in the movie eliciting chuckles from the audience all the way to the end.
On the topic of character development, what stood out for me was the balanced attention to both the male and female leads. At no point in the movie did I feel that one character was merely supporting the other. While it is not so rare for films to have more than one main character, I particularly enjoyed the coexistence of a male and female character in the lead roles.
I am very accustomed to seeing movies that praise individualism, the American Dream and the Nietzschean Will to Power, I had yet to see a decent film that championed communist ideals (I'm sure there must be quite a few out there - please pardon my lack of exposure and experience). This movie is centered around a propaganda piece and provides a "real-life" example of events that illustrate the ideals of camaraderie, solidarity and sympathy for the fellow man. Two characters who at first only care for their own "individual" and "selfish" well being, find themselves putting each other's best interest ahead of their own. And trust me, this is not done in a superficial, pedantic way that'll make your eyes roll (as it sometimes does in such films). In a sense, the film about a propaganda film IS an effective "propaganda" piece in and of itself.
It's hard to judge acting in a language/culture that is not too familiar. This is because any slight exaggeration or downplay of emotion may be a feature of the target culture and not "bad acting". Having said that, I found the acting in this movie realistic and believable. Organic comedy/drama bubbling out of the very carefully crafted scenarios and situations.
I thoroughly enjoyed watching this movie and look forward to exploring Zhang Yimou's other features.
All I can say is, I was very pleasantly surprised. The film is basically a road trip movie about two protagonists who really don't want anything to do with each other, but go through a journey that ultimately, yet ever so gradually, transforms their relationship. The plot was well-written with plausible events and very witty use of dramatic irony. In fact, this charmingly facetious tone is established early on in the movie eliciting chuckles from the audience all the way to the end.
On the topic of character development, what stood out for me was the balanced attention to both the male and female leads. At no point in the movie did I feel that one character was merely supporting the other. While it is not so rare for films to have more than one main character, I particularly enjoyed the coexistence of a male and female character in the lead roles.
I am very accustomed to seeing movies that praise individualism, the American Dream and the Nietzschean Will to Power, I had yet to see a decent film that championed communist ideals (I'm sure there must be quite a few out there - please pardon my lack of exposure and experience). This movie is centered around a propaganda piece and provides a "real-life" example of events that illustrate the ideals of camaraderie, solidarity and sympathy for the fellow man. Two characters who at first only care for their own "individual" and "selfish" well being, find themselves putting each other's best interest ahead of their own. And trust me, this is not done in a superficial, pedantic way that'll make your eyes roll (as it sometimes does in such films). In a sense, the film about a propaganda film IS an effective "propaganda" piece in and of itself.
It's hard to judge acting in a language/culture that is not too familiar. This is because any slight exaggeration or downplay of emotion may be a feature of the target culture and not "bad acting". Having said that, I found the acting in this movie realistic and believable. Organic comedy/drama bubbling out of the very carefully crafted scenarios and situations.
I thoroughly enjoyed watching this movie and look forward to exploring Zhang Yimou's other features.
Celebrating film or propaganda?
TheDragonTrader16 June 2022
Whist in search of a lost film roll of utmost importance, One Second takes us on a delightful trip through the desert. The plot reminds strongly of Cinema Paradiso and doesn't add anything innovative to the mix. But it holds enough clever twists and turns to engage the audience.
The movie suffers from some minor flaws but can hide them behind the beautiful cinematography. Meanwhile, its feel-good quality prevents it from living up to the subtlety and nuance of Yimuo's earlier work. And rather than a celebration of film, it almost feels as if they are actually celebrating propaganda. Furthermore, the main character keeps making funny decisions - often of staying silent - which puts him in increasingly dire trouble.
Yet, the performances are firm, the imagery is occasionally exceptional, and Yimou's direction is refined. It's better than most movies these days, but the story itself fails to reach higher ground.
The movie suffers from some minor flaws but can hide them behind the beautiful cinematography. Meanwhile, its feel-good quality prevents it from living up to the subtlety and nuance of Yimuo's earlier work. And rather than a celebration of film, it almost feels as if they are actually celebrating propaganda. Furthermore, the main character keeps making funny decisions - often of staying silent - which puts him in increasingly dire trouble.
Yet, the performances are firm, the imagery is occasionally exceptional, and Yimou's direction is refined. It's better than most movies these days, but the story itself fails to reach higher ground.
Cinema far from Paradiso
Bachfeuer25 October 2021
Anyone unfamiliar with the larger career arc of Yimou Zhang can be excused for underestimating this heartfelt film. If it is not a masterpiece, then it is at least a worthy example from a master. It is, of course, a takeoff on Nuovo Cinema Paradiso (1988). I infer that this film is vastly truer to Cultural Revolution China than that one was to early post-WWII Italy. I think it rings true. I hope that someone who was there "in the day" will comment.
Didn't expect
ks-605004 June 2021
It's drama reveals part of the history back to chairman Mo era. The encounter of two strangers looking for the same item for different reasons is the main storyline. It's quite interesting for what happening between them especially for the family values being demonstrated as well as two strangers interaction. The movie is directed by Zhang Yimou, that's I found out after watching and it explain why it's so good.
Zhang's Ode to Cinema - A striking, beautiful tribute
VeraWade8 April 2022
Warning: Spoilers
Being big fans of Zhang Yimou's work, we had long anticipated this movie. We finally saw it in the cinema, and we absolutely loved it.
Like all of Zhang Yimou's masterpieces, One Second is full of breathtaking visuals, and it impresses from the first shot on. The story of the movie plays out in a village surrounded by the Gobi Desert, and Zhang misses none of the opportunities this setting offers for astounding visuals. Set mostly during the Cultural Revolution, some elements of the film evoke Zhang's classic "To Live".
The story mainly centers around an escaped convict and a young girl he encounters, who tries to steal a film reel. We learn about the local cinema and the anticipation in which the villagers wait for new films to arrive, and we get to know the projectionist, who is called 'Mr. Movie'. After the negatives of one certain film reel are accidentally damaged, Mr. Movie decides everyone will have to work together to try to restore them. The scenes showing the cleaning of the film's negatives are lovely and very satisfying, and show as much as anything how much of an ode to cinema this film is. As stated, the convict and the young girl are the main characters and emotional core of the film. They have some comedic scenes together, especially earlier in the film, but eventually the story of these characters is touching and heartwarming.
Absolutely a recommended watch, not only for fans of Zhang Yimou, but for film fans in general.
Like all of Zhang Yimou's masterpieces, One Second is full of breathtaking visuals, and it impresses from the first shot on. The story of the movie plays out in a village surrounded by the Gobi Desert, and Zhang misses none of the opportunities this setting offers for astounding visuals. Set mostly during the Cultural Revolution, some elements of the film evoke Zhang's classic "To Live".
The story mainly centers around an escaped convict and a young girl he encounters, who tries to steal a film reel. We learn about the local cinema and the anticipation in which the villagers wait for new films to arrive, and we get to know the projectionist, who is called 'Mr. Movie'. After the negatives of one certain film reel are accidentally damaged, Mr. Movie decides everyone will have to work together to try to restore them. The scenes showing the cleaning of the film's negatives are lovely and very satisfying, and show as much as anything how much of an ode to cinema this film is. As stated, the convict and the young girl are the main characters and emotional core of the film. They have some comedic scenes together, especially earlier in the film, but eventually the story of these characters is touching and heartwarming.
Absolutely a recommended watch, not only for fans of Zhang Yimou, but for film fans in general.
interesting little movie
cherold1 September 2023
One Second is a small-town period piece about a rough man obsessed with seeing a stolen newsreel. When the newsreel is stolen by a young orphan girl he goes on the chase.
The reasons are shown over time, but the thing you see right away is the importance of film in the movie's world. Townspeople are obsessed with movies, and theater owners are respected to a remarkable degree. Who knew?
The film has an interesting structure - much of the middle is devoted to saving some damaged film, which is surprisingly absorbing, but other parts are pretty dramatic. And the central relationship between the man and the orphan girl is rather remarkable as it shifts and alters in ways that make sense even when they surprise.
While I am more a fan of directory Yimou Zhang's blockbusters than of his smaller village-life movies , this is a genuinely enjoyable and affecting film that is well worth watching.
The reasons are shown over time, but the thing you see right away is the importance of film in the movie's world. Townspeople are obsessed with movies, and theater owners are respected to a remarkable degree. Who knew?
The film has an interesting structure - much of the middle is devoted to saving some damaged film, which is surprisingly absorbing, but other parts are pretty dramatic. And the central relationship between the man and the orphan girl is rather remarkable as it shifts and alters in ways that make sense even when they surprise.
While I am more a fan of directory Yimou Zhang's blockbusters than of his smaller village-life movies , this is a genuinely enjoyable and affecting film that is well worth watching.
A pretty mediocre story line and some minor flaws
Bad-Good-Great5 October 2021
There were lot of running and chasing in this movie. For the story itself, the contents were not that much, just tried to tell you how tough the Chinese people had to deal with during the Culture Revolution. The time frame background of this movie was about the last two or three years of the long 10 years long purgatory-like life and living in a remote and poor village. The Chinese under the iron-clad control of the Chinese Communist Party were suffering but already tamed thoroughly by Chairman Mao and his peers with forceful brain-washing feed. The story itself was actually not that complicated and by modern day standard, actually quite boring, a single and direct line of the development and, well, very very slow.
Two flaws that immediately caught by my eyes: 1) Too many almost looked new bicycles. It's totally absurd during that poor era. And all the bikes not only looked quite new, well maintained, looked like manufactured by the same bike factory.
2) The little brother of Sissy Liu was a wrong cast. Just like those bikes, he not only not looked a bit similar to his older sister but simply looked like a modern day kid attending private school.
I could also tell that the director and the screenplay writers were very very careful not to step on the red lines stipulated by CCP's censorship.
They only feather-touched the unfair injustice when any person could be damned as a criminal and suffered so many years in hard labor and imprisonment.
The song sang by the leading young actress after the movie was not only not good but also very unnecessary.
Watchable, but not especially outstanding.
Two flaws that immediately caught by my eyes: 1) Too many almost looked new bicycles. It's totally absurd during that poor era. And all the bikes not only looked quite new, well maintained, looked like manufactured by the same bike factory.
2) The little brother of Sissy Liu was a wrong cast. Just like those bikes, he not only not looked a bit similar to his older sister but simply looked like a modern day kid attending private school.
I could also tell that the director and the screenplay writers were very very careful not to step on the red lines stipulated by CCP's censorship.
They only feather-touched the unfair injustice when any person could be damned as a criminal and suffered so many years in hard labor and imprisonment.
The song sang by the leading young actress after the movie was not only not good but also very unnecessary.
Watchable, but not especially outstanding.
Great fighting spirit with these two in the face of all they have to overcome to find peace and friendship
Horst_In_Translation11 July 2022
Warning: Spoilers
"Yi miao zhong" or "One Second" is a co-production between China and Hong Kong and this film is in the Mandarin language, so unless you are from Asia yourself, chances are high that you will need subtitles while watching these under 105 minutes. This film is from 2020 and Yimou Zhang was already almost 70 when he made this and he is over 70 now, so clearly one of the most experienced, most established and also most successful filmmakers from China these days. The fact that he won 2 BAFTAs is pretty self-explanatory, even if these happened in the first half of the 1990s already, so approximately 30 years ago now. He started making films back in the late 1980s and most of the time when he directed, he also wrote the screenplays. This film here is no exception, even if he got help from Jingzhi Zou. This film is based on a novel. Or is it? At least to some extent, but it seems there were some conflicts there that resulted in the original writer getting removed from the credits? In any case, Geling Yan is still listed here on imdb as the one who wrote the novel. Maybe Zhang changed a few story parts, so the film is not too close to the novel anymore. I am not sure. It is not too important anyway unless you have read the novel. Instead, this should be all about watching a quality film and for the most part, this is what you get here.
This also has to do with the acting. I cannot say I am particularly familiar with the cast here, but it is surely my loss. Yi Zhang seems to be one of the most successful Asian actors these days and he gives a pretty good performance. I am not sure if he is related to the filmmaker, but I guess not. Zhang is just really a very common name in China of course. I mean even his character is named like that. Or it was probably intentional because the young female actress at the center of it all is named Haocin Liu and her character is also named Liu. This was her first film back then, but she has acted in other projects since then, so it seems she will keep acting. At least for now. Good news. I think she has talent. The only other actor with a lot of screen time is Wei Fan. His character's name is also Fan, even if Mr. Movie is something you will remember much easier. So there you see already that what we have here is an example of film on film. I watched a pretty good Indian movie not too long ago that is even newer than this one here and that one also dealt with characters and their connection to film. Celluloid was featured here and there and we also see how people keep working with it. Here, the working process was mostly cleaning because it was about a village and the people living there who wanted to see a certain film, but the tape was not in great shape and dirty from the sand, so they had to work a bit first before they could enjoy the movie. The two heroes had other goals though. The guy cared much more about the newsreel than the live action film because his daughter was featured on it and he wanted to see her. The female protagonist wanted to use the celluloid to turn it into a lampshade that could help her mentally ill brother. The idea seemed a bit absurd at first, but then you see a lampshade that belongs to another character and it was quite amazing and now you understood her idea. The two are clashing pretty much from the very start. Even physically in the desert when the guy mistakes the girl for a boy and knocks her out. But he is not gruesome or so. He even says that he would not have hit her or at least not as hard if he had known she was a girl.
Speaking of the desert, a large part of the film takes place in this location. You can really feel the sun burning through the screen. Very nicely done I'd say. It's not just the interactions between the main characters that are interesting, but also how they communicate with others. Just look at the scene early on when they are inside this truck and the tomboy tells her made-up story that the guy is her father and has treated her and her family really poorly. This was a funny moment, but later on we realize this was also a pretty sad moment because the story was true, except of course that the man is not her father. He never would have treated her this badly. The end is fairly sobering. I mean you realize there will be no happy ending when the two are tied up there and the soldiers are watching a movie at the same time. However, with the final jump in time, there is a bit of a happy ending. The guy is out of jail, the girl now looks really tidy with the hair and as if she is doing fine and the two meet again. However, the photo is lost in the desert of course as the girl did not know that this was what the man was after, but oh well. He realizes that the friend he gained is much more precious than this photo. And she realizes she has a grown-up who can take care of her now. She really does trust him. You can see that on a few occasions, but at the latest when she tells him that she is playing tough all the time, also to protect her brother, but she really does miss her father a lot. So they both kinda find what they are/were looking for in somebody else. Oh yeah unrelated, another thing I really liked here was the depiction of food. The noodles looked so incredibly delicious that I totally would have loved a portion for myself too. I will have to find a decent restaurant.
As for Wei Fan's character, I had some issues with him here and there with how he changed. I mean he was really tough and a true boss during the table scene with how he would not let the main character(s) simply go away, but the longer the film went, the softer he became. Of course, a knife on your throat does something with you, but still I struggled a bit to see him as realistic this way. Surely he was also playing a bit as we see through the revelation that he actually informed the forces about the intruder, even if the latter told him he will kill him if he does, and they got there on time to arrest him. Mr. Movie is not a villain though. He even apologized to the main character that he did not know they would beat him. Surely, this could also have to do a bit with him being scared that the man could actually come for him again in the future, but with the token he gives him we know he is not a bad person or anything. That much is safe. He did not have to do it and the two even trust each other somehow because the protagonist also asks for a favor. That I did not really get what the favor was, but it may have had to do with the girl. She even came to help him and gave him the reels before that, so it shows that they understand each other as well. The two main characters I mean. The male protagonist can be pretty crude and is a solid fighter as we see on a few occasions, but he is not evil or anything. We understand he will not kill Mr. Movie in the future, even if he said so. He also tells him on one occasion that he is not there to hurt him. He is just there to see his daughter. As for said daughter, we never really find out what happened to her or I missed it. Only that she was forced to work really hard and we see that when she is filmed. Maybe she died from fatigue, maybe the male protagonist himself has no idea what happened to her and if she is still alive and if he will ever see her again. I mean this was China many decades ago and really almost impossible to find somebody you are no longer in touch with when they could be anywhere in the country. So it is also a political movie as Mao is still omnipresent. Not only in terms of pictures, but also in general. Look at Mr. Movie's words to the forces when they arrive. He sides with the strongest there for sure.
In the face of all this, all the characters try to live lives where they succeed and find happiness, which is really nothing too easy. Many obstacles to overcome. Oh yeah, I was also wondering who the other guy was very early on who is ready to attack the male protagonist together with the female protagonist, but then chooses to run away like a coward eventually. We do not find out. A little later, the action moves to the village and I was fascinated there by what watching the film really meant to them I guess. I mean it seemed like such a vital act that I would think they prepared for Mao visiting or to protect the village from an upcoming natural disaster or so, but in the end it was "only" all about a movie. Relief. It did feel a bit strange. Not gonna lie. Anyway, as for this film, the truly outstanding moments were not frequent enough for an overwhelmingly positive recommendation from me here, but on the positive side it was also never in doubt that I would like the fim enough for a positive recommendation and I surely think it is worth checking out, also because it is much closer to being a great film than it is to being a poor film I'd say. The performances are really worth it and almost all other production values too. You will probably find your own small moments that you will like, but I myself enjoyed for example Yi Zhang's face expression when he was in the passenger's seat or co-driver's seat in the truck there and listening to the girl's (as he thought) fictitious story. She sure convinced the driver. And Zhang turned into a complete fool by leaving the vehicle when he thought a guy with a motorbike could take him the rest of the road. And he lost the reels too, so he really hit rock bottom there, but after a very long walk, he somehow reaches the village and luck is on his side there when he finds the girl so quickly. Probably there weren't many settlements in the area, so it makes sense and he was not totally lucky, but just made the right decision. The two weren't that different anyway as they had the same goals in terms of what they wanted to acquire, even if it was for completely different reasons. Or somewhat different reasons: Both had to do with young family members and taking care of them. Now, that is all then. If you get the chance to watch this one, do it.
This also has to do with the acting. I cannot say I am particularly familiar with the cast here, but it is surely my loss. Yi Zhang seems to be one of the most successful Asian actors these days and he gives a pretty good performance. I am not sure if he is related to the filmmaker, but I guess not. Zhang is just really a very common name in China of course. I mean even his character is named like that. Or it was probably intentional because the young female actress at the center of it all is named Haocin Liu and her character is also named Liu. This was her first film back then, but she has acted in other projects since then, so it seems she will keep acting. At least for now. Good news. I think she has talent. The only other actor with a lot of screen time is Wei Fan. His character's name is also Fan, even if Mr. Movie is something you will remember much easier. So there you see already that what we have here is an example of film on film. I watched a pretty good Indian movie not too long ago that is even newer than this one here and that one also dealt with characters and their connection to film. Celluloid was featured here and there and we also see how people keep working with it. Here, the working process was mostly cleaning because it was about a village and the people living there who wanted to see a certain film, but the tape was not in great shape and dirty from the sand, so they had to work a bit first before they could enjoy the movie. The two heroes had other goals though. The guy cared much more about the newsreel than the live action film because his daughter was featured on it and he wanted to see her. The female protagonist wanted to use the celluloid to turn it into a lampshade that could help her mentally ill brother. The idea seemed a bit absurd at first, but then you see a lampshade that belongs to another character and it was quite amazing and now you understood her idea. The two are clashing pretty much from the very start. Even physically in the desert when the guy mistakes the girl for a boy and knocks her out. But he is not gruesome or so. He even says that he would not have hit her or at least not as hard if he had known she was a girl.
Speaking of the desert, a large part of the film takes place in this location. You can really feel the sun burning through the screen. Very nicely done I'd say. It's not just the interactions between the main characters that are interesting, but also how they communicate with others. Just look at the scene early on when they are inside this truck and the tomboy tells her made-up story that the guy is her father and has treated her and her family really poorly. This was a funny moment, but later on we realize this was also a pretty sad moment because the story was true, except of course that the man is not her father. He never would have treated her this badly. The end is fairly sobering. I mean you realize there will be no happy ending when the two are tied up there and the soldiers are watching a movie at the same time. However, with the final jump in time, there is a bit of a happy ending. The guy is out of jail, the girl now looks really tidy with the hair and as if she is doing fine and the two meet again. However, the photo is lost in the desert of course as the girl did not know that this was what the man was after, but oh well. He realizes that the friend he gained is much more precious than this photo. And she realizes she has a grown-up who can take care of her now. She really does trust him. You can see that on a few occasions, but at the latest when she tells him that she is playing tough all the time, also to protect her brother, but she really does miss her father a lot. So they both kinda find what they are/were looking for in somebody else. Oh yeah unrelated, another thing I really liked here was the depiction of food. The noodles looked so incredibly delicious that I totally would have loved a portion for myself too. I will have to find a decent restaurant.
As for Wei Fan's character, I had some issues with him here and there with how he changed. I mean he was really tough and a true boss during the table scene with how he would not let the main character(s) simply go away, but the longer the film went, the softer he became. Of course, a knife on your throat does something with you, but still I struggled a bit to see him as realistic this way. Surely he was also playing a bit as we see through the revelation that he actually informed the forces about the intruder, even if the latter told him he will kill him if he does, and they got there on time to arrest him. Mr. Movie is not a villain though. He even apologized to the main character that he did not know they would beat him. Surely, this could also have to do a bit with him being scared that the man could actually come for him again in the future, but with the token he gives him we know he is not a bad person or anything. That much is safe. He did not have to do it and the two even trust each other somehow because the protagonist also asks for a favor. That I did not really get what the favor was, but it may have had to do with the girl. She even came to help him and gave him the reels before that, so it shows that they understand each other as well. The two main characters I mean. The male protagonist can be pretty crude and is a solid fighter as we see on a few occasions, but he is not evil or anything. We understand he will not kill Mr. Movie in the future, even if he said so. He also tells him on one occasion that he is not there to hurt him. He is just there to see his daughter. As for said daughter, we never really find out what happened to her or I missed it. Only that she was forced to work really hard and we see that when she is filmed. Maybe she died from fatigue, maybe the male protagonist himself has no idea what happened to her and if she is still alive and if he will ever see her again. I mean this was China many decades ago and really almost impossible to find somebody you are no longer in touch with when they could be anywhere in the country. So it is also a political movie as Mao is still omnipresent. Not only in terms of pictures, but also in general. Look at Mr. Movie's words to the forces when they arrive. He sides with the strongest there for sure.
In the face of all this, all the characters try to live lives where they succeed and find happiness, which is really nothing too easy. Many obstacles to overcome. Oh yeah, I was also wondering who the other guy was very early on who is ready to attack the male protagonist together with the female protagonist, but then chooses to run away like a coward eventually. We do not find out. A little later, the action moves to the village and I was fascinated there by what watching the film really meant to them I guess. I mean it seemed like such a vital act that I would think they prepared for Mao visiting or to protect the village from an upcoming natural disaster or so, but in the end it was "only" all about a movie. Relief. It did feel a bit strange. Not gonna lie. Anyway, as for this film, the truly outstanding moments were not frequent enough for an overwhelmingly positive recommendation from me here, but on the positive side it was also never in doubt that I would like the fim enough for a positive recommendation and I surely think it is worth checking out, also because it is much closer to being a great film than it is to being a poor film I'd say. The performances are really worth it and almost all other production values too. You will probably find your own small moments that you will like, but I myself enjoyed for example Yi Zhang's face expression when he was in the passenger's seat or co-driver's seat in the truck there and listening to the girl's (as he thought) fictitious story. She sure convinced the driver. And Zhang turned into a complete fool by leaving the vehicle when he thought a guy with a motorbike could take him the rest of the road. And he lost the reels too, so he really hit rock bottom there, but after a very long walk, he somehow reaches the village and luck is on his side there when he finds the girl so quickly. Probably there weren't many settlements in the area, so it makes sense and he was not totally lucky, but just made the right decision. The two weren't that different anyway as they had the same goals in terms of what they wanted to acquire, even if it was for completely different reasons. Or somewhat different reasons: Both had to do with young family members and taking care of them. Now, that is all then. If you get the chance to watch this one, do it.
Nothing may happen to someone from evil acts, but something wonderful often happens from kindness.
Blue-Grotto10 October 2021
Winds sweep over desert dunes that extend to the horizon where a man walks alone. Unknown to him a girl follows in his footsteps. Encountering one another in the next town it is discovered that they each desperately want the same thing, to steal a film reel. Each has a very compelling reason for the theft. The man and the girl find ways to take the reel from each other, but eluding the community is a different matter. In any other place but China in the 1970s the theft of a film reel might go unnoticed, however here watching a film is a community event. The struggle for the reel assumes epic proportions as the reasons become clear why the man and the girl need the film so much.
Zhang Yimou said in a video introduction to this Toronto international film festival screening that he was in his 20s during the 1970s. Whole communities watched films together back then. Being in packed theaters left a deep impression on him. In One Second he takes people back to this time where everyone sings along and knows the dialogue by heart. One Second is funny and touching at the same time. The cinematography is colorful, crisp, intentional, and well defined. The little acts of kindness in the film have deep impacts upon the lives of the characters, and it is uplifting to see this.
Zhang Yimou said in a video introduction to this Toronto international film festival screening that he was in his 20s during the 1970s. Whole communities watched films together back then. Being in packed theaters left a deep impression on him. In One Second he takes people back to this time where everyone sings along and knows the dialogue by heart. One Second is funny and touching at the same time. The cinematography is colorful, crisp, intentional, and well defined. The little acts of kindness in the film have deep impacts upon the lives of the characters, and it is uplifting to see this.
Incredible unconventional Cinema Paradiso
martinpersson9720 March 2023
Warning: Spoilers
Films surrounding a movie theater and its cultural impact on society is without a doubt compared to the masterpiece Cinema Paradiso by the master auteur Tornetore.
This chinese feature set in the backdrop of the Mao dynasty takes what is already a great premise and makes it its own by being further interesting.
It's not a conventional Hollywood-style narrative, obviously, and it's not really one of happy endings or forged friendships, though it's not overly dark, and its title "A Second of Happiness" feels very fitting. It has a very realistic tone, and the actors all do an incredible job.
Overall, a true masterpiece and a testament to chinese and asian cinema overall.
This chinese feature set in the backdrop of the Mao dynasty takes what is already a great premise and makes it its own by being further interesting.
It's not a conventional Hollywood-style narrative, obviously, and it's not really one of happy endings or forged friendships, though it's not overly dark, and its title "A Second of Happiness" feels very fitting. It has a very realistic tone, and the actors all do an incredible job.
Overall, a true masterpiece and a testament to chinese and asian cinema overall.
A Second of Happiness
ricardojorgeramalho6 September 2023
Always faithful to a grand style and beautiful cinematography, Zhang leaves the politically correct History of his first films to dedicate himself to a much darker chapter in China's recent History, the Cultural Revolution.
The odyssey of an escaped political prisoner, just to see a single second, on film, of his daughter, who he was forced to abandon at the age of eight, when imprisoned in a re-education camp.
Along the way he encounters the desert, which is the image of an apathetic China, hostage to revolutionary slogans, the cult of political heroes, but where destroyed families seek the strength to rebuild their lives, after the political storm finally calms down.
Zhang adds poetry to the denunciation of the enormous crime that was the Cultural Revolution. Some will feel that this constitutes a concession to the regime. I prefer to see the work as a contribution to national reconciliation, after the difficult times of authoritarian totalitarianism.
The odyssey of an escaped political prisoner, just to see a single second, on film, of his daughter, who he was forced to abandon at the age of eight, when imprisoned in a re-education camp.
Along the way he encounters the desert, which is the image of an apathetic China, hostage to revolutionary slogans, the cult of political heroes, but where destroyed families seek the strength to rebuild their lives, after the political storm finally calms down.
Zhang adds poetry to the denunciation of the enormous crime that was the Cultural Revolution. Some will feel that this constitutes a concession to the regime. I prefer to see the work as a contribution to national reconciliation, after the difficult times of authoritarian totalitarianism.
A film made for a foreign audience ignorant of Chinese recent cinematography
toniskimmel2 February 2022
A film made for a foreign audience ignorant of Chinese history and recent cinematography. If you have seen Chinese movies before, don't bother watching this one. If you have never seen any, switch to Zhang's earliest ones. If you want rural melancholy, see Bi Gan's Kaili Blues or Antonioni's Chung Kuo - Cine instead.
The only part that I really liked about the film is the two lead characters, who go through a vast transformation. A villain becomes a hero and back many times. Of course, it is a characteristic of Chinese cinema that there are no distinctly good or bad characters. This, at its best, leads to a very artistic and chill vibe. In One Second, though, it is more a token of Zhang avoiding the official red lines set to the topic of Chairman Mao's years of turmoil. The village boys are real villains who do nasty things, but they get through with no pay. What is disturbing is that their violence is somewhat airbrushed away behind the frame. As if the director agreed to their acts. The result is an immensely politically correct and thus boring storyline, with an all too obvious tear-puller placed to the end.
The only part that I really liked about the film is the two lead characters, who go through a vast transformation. A villain becomes a hero and back many times. Of course, it is a characteristic of Chinese cinema that there are no distinctly good or bad characters. This, at its best, leads to a very artistic and chill vibe. In One Second, though, it is more a token of Zhang avoiding the official red lines set to the topic of Chairman Mao's years of turmoil. The village boys are real villains who do nasty things, but they get through with no pay. What is disturbing is that their violence is somewhat airbrushed away behind the frame. As if the director agreed to their acts. The result is an immensely politically correct and thus boring storyline, with an all too obvious tear-puller placed to the end.
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