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Frozen


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Product Details

  • Actors: Hongshen Jia, Xiaoqing Ma, Yu Bai, Geng Li, Yefu Bai
  • Directors: Xiaoshuai Wang
  • Writers: Xiaoshuai Wang, Ming Pang
  • Producers: Bing Zhu, Kei Shu, Ming Pang, Xiun Feng, Xu Wei
  • Format: Color, Subtitled, NTSC
  • Language: Mandarin Chinese (Dolby Digital 2.0 Stereo)
  • Subtitles: English
  • Region: All Regions
  • Aspect Ratio: 1.33:1
  • Number of discs: 1
  • Rated: Unrated
  • Studio: Fox Lorber
  • DVD Release Date: February 22, 2000
  • Run Time: 95 minutes
  • Average Customer Review: 3.2 out of 5 stars  See all reviews (5 customer reviews)
  • ASIN: 1572527854
  • Amazon Best Sellers Rank: #215,633 in Movies & TV (See Top 100 in Movies & TV)
  • Learn more about "Frozen" on IMDb

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Editorial Reviews

Amazon.com

A member of a small group of intellectuals and artists, performs a series of symbolic ritual suicides--burial by earth, water, and fire--on the first day of each season, and plans to publicly end his life for good in a final ice burial. Inspired by a real-life performance-art suicide (according to the opening commentary), Frozen explores a rarely glimpsed youth subculture of post-Tiananmen Square Beijing, and finds a mood of hopelessness. Wang Xiaoshuai's deliberate direction and unadorned shooting style has won accolades for its simplicity and directness, highlighted in two genuine performance-art pieces: the first a stomach churning document of two men eating a bar of soap, and the second the shivering ice burial. It's an effective approach for those scenes, where self-torture becomes a desperate grasp for sensation in a numbing existence, but elsewhere the anger and frustration of the film dissipates in long, rambling discussions and a meandering pace. Part of that style came from necessity: the guerrilla production was shot in secret and smuggled out of the country. The director finished it in Amsterdam and signed it "Wu Ming" (meaning "no one") out of fear of reprisals from the Chinese government. In the years since its release, Wang Xiaoshuai has come forth as the director, but the alias appropriately remains on the prints. A film that gives voice to a generation of alienated young adults desperate to be heard, it remains banned in China. --Sean Axmaker

Customer Reviews

3.2 out of 5 stars
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Most Helpful Customer Reviews

12 of 14 people found the following review helpful By Eddie Landsberg VINE VOICE on February 16, 2001
Format: VHS Tape
Overall this film recounts the story of a young artist as he plans suicide by means of burial in ice on the first day of summer in a public square as a final act of performance art.
The zen-like feel of this film, with its mixture of "non-chalantness", nihlism makes you feel more like you're reading a novel by Osamu Dazai (No Longer Human, The Setting Sun) or Yukio Mishima (Temple of the Golden Pavillion) than watching an underground movie smuggled from China... the themes and the unfolding of the story are the same.
I say non-chalantness because despite the profound nature of the story, the director presents the unfolding events very calmly and casually... there's is nothing "artsy", boring or overdramatic about the film. In many ways its typical Asian stoicism, but amplified under the magnet of the unfolding of events in the movie. In fact, by the time the reality settles in, the film pulls a number of brilliant orchestrated tricks on the viewer in which many ways the viewer goes from the the judge to the judged - - and despite the simplicity of the story, you found yourself trapped in a complex web and part of the art.
Sadly, we may never know who really directly this film and few people in his own country will get to see it. We can only hope however, that this brilliant director who called himself "no one" will continue to make films and direct ! ! !
Not for everyone, of course... but nevertheless, a brilliant story... a brilliant film !
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10 of 12 people found the following review helpful By Dale Murphy on July 7, 2001
Format: VHS Tape
One almost feels morally compelled to give a high rating to a film like this because of what it stands for and the obvious difficulties involved in producing such a work. But I can't.
Frozen, as previous reviews have explained, is essentially about a young performance artist who to raise his apparent spiritual malnourishment or general weariness with life to an art form decides to take his own life in protest against....well, we're not sure exactly, and that's the problem with the film. His individual struggles are never gone into in great detail. Instead we get him doing black and white Munch-like sketches of hollow cheeked post-apocalyptic waifs and then sitting in his room for three days without eating. His brother in law tries to cash in on his known death wish by selling his work (an impulse that needs no explanation).
Few films have the opportunity that Frozen had to fire big shots at an obviously worthy target and win immediate sympathy for its message. But instead, we are left with the impression that the Chinese underground has succumbed to a general nihilism. Apart from ethnicity and language, this could be Seattle youth dropping manhole covers on puppies to protest the WTO. Some scenes, notably those with the character of Bold Head, do carry enough intensity to be engrossing in and of themselves, i.e. his methodical consumption of a bar of soap, and his opening of a bottle with his teeth, which was more profoundly philosophical than any such act I've seen on film or in person. His character was extremely compelling.
I suppose some might argue that the prevailing sense of despair and hopelessness that runs through the film is an indictment of the Communist system. Perhaps so. But normally one would expect that a rallying cry would not be so cognisant of its own futility.
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This is a strange movie about a strange subject. At least it is strange to my eyes and way of thinking. It is about what is known as the performance artist which was a movement popular in the 1990's in Peking, China. It is supposed to be about a real event, what lead up to it and what happened afterward. It brings up the question of whether a life is too high a price to pay for art. It is the story of Qi Lai (Jia Hongshen).who was a student who was in this performance art movement and who is bored with life, His graphic art work is somber in blacks and whites. But first let me interject an episode of this performance art that was depicted in a scene. Two young men decide to sit down at a table on a street and in front of a crowd each eat a bar of soap. The people are just standing around and taking photographs of them. The younger man eats it by holding it like a candy bar taking bites out of it until he is halfway through and throws it all up at the feet of a couple who move aside in disgust. The older of the two (the bald one) eats it with a khife and fork and manages to get it all down and then after a few seconds tosses his meal as well. Now back to Qi Lai and his story. He has a "guru" Lau Lin with whom he spends time talking to and who agrees with his thoughts. What are his thoughts? His thoughts are how to leave this world using performance art. He fluctuates back and forth on whether to do it or not. On the first of autumn he does an earth burial (similar to what the Japanese did to the Chinese during World War II. In the winter he does a water burial. In the spring he does a fire burial and the "real" burial will be the summer ice burial. You see, Qi Lei with his boredom of life wondered what the world would be like without him.Read more ›
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4 of 14 people found the following review helpful By Serendivinny on June 25, 2001
Format: DVD
I have to rein in my displeasure not to give a one star. The film is pretentious, self-righteous and boring. The only saving grace is it provides a rare peek into Chinese couter-culture. The folks in Beijing who made this film apparently believe that a life on the margin and death at large, nothing more, are enough to maintain the audience's interest for 95 minutes. No intelligent conversations, no good actings, and no coherent plot are required. Wrong. I also disagree with some critics who see this film as a condemnation of communist repression in China. First, there is no evidence that the youth's defiance is against anything in particular. In order to make a political point, the writer/director will need to offer a more coherent narrative, no matter how cloaked it has to be. Secondly, there are misfits in every society. If one compare the merits of political systems based on the strength of counter-culture, we'll have to draw the necessary conclusion that the totalitarian socialism of China is superior to the libertarian democracy of US. After all, few, if any, see "Traffic" as a protest against democratic society, right?
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