Cannes film festival
Lou Ye’s docu-realist film starts as sophisticated comedy, morphs from looking like a zombie apocalypse to intimate drama, and evolves into a tribute to how a nation handled trauma

Out of agony and chaos, Chinese film-maker Lou Ye has created something mysterious, moving and even profound – a kind of multilayered docu-realist film, evidently inspired by a real-life situation in film production. As well as everything else, the film meditates on what it means to be “unfinished”. Very few of us will leave this life with a satisfied sense of everything achieved, complete, squared away. To be mortal is to feel that things have ended without being finished. It is possibly his best film since the courageous Tiananmen Square drama Summer Palace from 2006 – and set near Wuhan, the city in which his 2012 film Mystery was set in the days when that place was internationally known – if at all – simply for being almost scarily vast and impersonal.

It is 2019 and a film director and his crew gather in a production studio and excitedly unbox a big 00s-era computer, containing the digitised video and audio files for a film he had had to abandon 10 years before – without even having a title – because he had refused to bow to his producers’ demands to soften the content. It is a story of a gay man’s passion for another man who is involved with someone else. Getting the unfinished film now is clearly the end result of legal wrangling. (Lou has evidently had access to genuine footage from a real production.)